LIBRARY OF CONGRESS. 



(SHpqt..- ®op| ri 3¥ 1° 

Shelf SMJl\ V \ 
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UNITED STATES OF AMERICA. 



J. M. J. D. 



ELOCUTION AS AN ART 



ITS PRECEPTS AND EXERCISES, 



ARRANGED 



FOR 



COLLEGES AND ACADEMIES 



A MEMBER OF THE/DOMINICAN ORDER. 



NEW ORLEANS, 
DOMINICAN ACADEMY. 

St. Charles Avenue. 

I8 9 3- 



Til 4-1 ii 



Copyrighted by the author, 
1S92. 



CONTENTS. 



Page 
Preface. ix 

Introduction i 

PART FIRST. 

CHAPTER I. 

FORMATION OF THE VOICE 5 

Anatomical Cut — Voice Organs and Relations. 
CHAPTER II. 

ELEMENTARY SOUNDS 8 

Exercises for Lips, Jaws, Tongue and Palate. 
Non-Articulates, Tonics; Articulates, Atonies 
and Sub-Tonics. 

CHAPTER III. 

BREATHING II 

Position for Exercises ; Effusive Form; Expulsive 
Form; Explosive Form. 

CHAPTER IV. 

THE VOICE 12 

Movements — Rapid, Slow, Moderate. Forms 
of Voice — Effusive, Expulsive and Explosive. 
Explanatory Clauses or Parenthesis. Voice 
Qualities. 



ii CONTENTS. 

CHAPTER V. 

ZONES OF THE HUMAN FRAME 1 5 

Zones of the Head, Torso, Upper and Lower Limb 
Sections. Their Significance. 

CHAPTER VI. 

EXERCISES TO ACQUIRE EASE OF POSE 17 

Excentric and Concentric Movements. 
CHAPTER VII. 

ARTICULATION 2 1 

Position for Exercise. Italian Sound of A. Short 
Sounds of E and I. Distinctness; Labial Semi- 
Vocal Sounds of wh; Lingua-Dental Sounds of 
th Soft and th Sharp; Guttural and Palatal 
Cognates G, K, C, Hard, ch (hard) O; Sound 
of X Soft; Labia-Dental Cognates F and V; 
Labial Cognates B and P; Lingua-Dental Cog- 
nates D, T. Two Sounds of D; Sibilant 
Sounds; Lingua-Palatal Sounds of R, Rough 
and Smooth; Mixed Articulation; Elegance of 
Articulation; Gene 1 Rule for the Articles 
the and a; Pronunciation of the terminations 
el, ed, merit, est, ness, ml, d, t, r and o; Dental 
bibilant Cognates C, Z, X, S; Exercises. The 
Italian A; Long E; Long O and Short O. 

CHAPTER VIII. 

DEFECTS OF VOICE 37 

Nasal Tones; Lingua-Palatal and Nasal Sound of 
N. Nasal-Palatal ng\ Diphthongs on, ou>; oi, 
and oy\ Sound of A Short and A Long before 
R; Stuttering, Exercises — Hamlet's Soliloquy. 



CONTENTS. iii 

Summary; Stammering, Lisping; Labia-Vocal 
Defects, Exercises on Labials. 



CHAPTER X. 



46 



Key-note; Verbal Relations; is — Quality and 
Substantive; 2nd — Verb and Adverb; 3rd — 
Agent and Action; 4th — Active Verb and Pas- 
sive Substantive; 5th — Particles; Summary; 
Where we Can Pause; Where we Cannot 
Pause. Inflections; Falling Inflection ; Rising- 
Inflection; Positive Matter; Negative Matter; 
Circumflex Inflection. 

CHAPTER XI. 

GESTURE 54 

The Graces of Gesture; Expression; Why we Em- 
ploy Gesture; Suspended Gesture. 

CHAPTER XII. 

SPHERES OF GESTURE 57 

Arm Movements; the Hand; the Chest; the Should- 
ers; External Signs of Emotions: Voluntary 
and Involuntary Signs. Their Subdivisions 

CHAPTER XIII. 

THE HEAD AND FACIAL EXPRESSION 60 

Divisions of the Head; Divisions of the Face; the 
Eye; the Nose; the Mouth. 

CHAPTER XIV. 

POINTS 64 

Useful Hints for Facial Expression and Pose. 



iv CONTENTS. 

SELECTIOITS. 

AUTHOR PAGE 

The Sculptor Boy Anon 69 

The Burial of Moses Mrs. Alexander 69 

The Lost Chord Miss Proctor 72 

The Relief of Lucknow - R. Lowell 73 

Discipline Anon 76 

The Glove and the Lions - Leigh Hunt 77 

The Battle of Ivry Macatdey 77 

The Skylark /. Hogg 80 

The Patriot's Song IV. Scott. . . 80 

Waiting for the May D. F. McCarthy 81 

The Jackdaw W. Cowper 81 

Freedom R. Lowell 82 

Crescentius L. E. L ; ... 83 

Columbus ' /. Miller 84 

Christophus Columbus - E. A. Starr 85 

The World-Giver M. F. Egan 87 

The Battle of New Orleans, — E. E 139 

The Builders, — Longfellow 141 

Sand of the Desert in an Hour Glass, 

— Longfellow 143 

CHAPTER XVI. 

DIALOGUE 89 

Its Nature, Niceties and Difficulties. Scene from 
Scott's Lady of the Lake\ Argument; Cos- 
tumes; Academic Fencing Salute. Scene from 

Fabiola; (Cardinal Wiseman) 101 

Introduction; Costumes. 



CONTENTS. 

PART SECOND 



PAGE 



CHAPTER I. 

VOCAL FLEXIBILITY I05 

Transition, Slide, Modulation, Pitch. 
CHAPTER II. 

FORCE AND STRESS 112 

Effusive, Expulsive, Explosive; Symbols for 
Stress. Radical Stress; Scale for Exercise 
in Force, Pitch and Modulation. Exercises 
on Radical Stress. 

CHAPTER III. 

RADICAL DIMINUENDO STRESS 121 

Its Nature. Exercises XVIII, XIX, XX. 
CHAPTER IV. 

VANISHING STRESS I 27 

Its Uses; Exercise XXI. 

CHAPTER V. 

COMPOUND STRESS I29 

Its Nature; Exercise XXII. 

CHAPTER VI. 

MEDIAN STRESS 

Its Nature and Uses; Exercise XXIII. 
CHAPTER VII. 

THOROUGH STRESS I33 

Its Quality and Use; Exercise XXIV. 



vi CONTENTS. 

CHAPTER VIII. 

THE TREMOR I 37 

Its Quality; its Natural Expression. Exercise 
XXV. 

CHAPTER IX. 

QUALITIES OF VOICE. PURE TONE 144 

Exercise, Long Souud of A ; Occasional Sound 
of E ; Long Sound of E ; Occasional Sound 
of I and Y; Long Sound of I; Strong 
Sound of Y; Long Sound of O, Open; 
Long Sound of O, Close; Long Sound of 
U. 

CHAPTER X, 

THE MONOTONE 148 

Its Characteristics; Exercise XXXI. 
CHAPTER XI. 

THE OROTUND ~. . . . 150 

Necessity tor Its Study; Exercise XXXII. 
Sound of H and of Broad A; Exercises 
from Shakespere and Bryant's Thanatop- 
sis; Tennyson's Charge. of the Light Brigade. 

CHAPTER XII. 

GUTTURAL TONES 158 

Their Nature and Uses; Exercise XXXII. 
CHAPTER XIII. 

PECTORAL QUALITY l6l 

Its Character; How Produced; Exercise 
XXXIV. 

CHAPTER XIV. 

THE ASPIRATE 162 



CONTENTS. vii 

Its Nature and Uses; Exercise XXXV, The 
Baron's Last Banquet\ Scene from The Mer- 
chant of Venice. 

CHAPTER Xv^. 

HARMONY OF THOUGHT AND EXPRESSION. . 169 

Resemblance between Sounds and their Word- 
Expression ; Resembling Causes. 

CHAPTER XVI. 

VERSIFICATION 171 

Note; Poetry; Hexameter Verse. 
CHAPTER XVII. 

QUANTITY, ACCENT AND RHYTHM. 1 74 

CHAPTER XVIII. 

VERSE 177 

Specific Names. Measurement. 

CHAPTER XIX. 

RHYME 180 

Alliteration. Perfect and Imperfect Rhyme. 
CHAPTER XX. 

GENERAL RHYMING 183 

Systems in Use. Their Structure. 

CHAPTER XXI. 

POETIC PAUSES 189 

Their Orders and Positions. 

CHAPTER XXII. 

GENERAL OBSERVATIONS 192 



viii CONTENTS 

^CHAPTER XXIII. 

INFLECTIONS I 95 

Antithetical Matter. Interrogative Matter. 
CHAPTER XXIV. 

EMPHASIS 198 

General Rule for Emphasis. Its Six Executive 
Forms. 

SELECTIONS. 

Dickens in Camp. Bret Harte 201 

Lady Clara Vere de Vere.- Tennyson 203 

Hallowed Ground. Campbell. 205 

Annabel Lee. - - E. A. Poe 209 

Scene from Hamlet. Shakspere 219 



AUTHOR'S PREFACE 



These pages are a modest contribution to the great 
object of Elocutionists — to assist students in acquiring 
a knowledge of its precepts, to inspire them with a love 
for the art and to perfect their expression of thought. 
This work shall enable students interested in the study 
to make rapid progress; and, while gaining excellence 
herein, to advance in other branches closely allied to 
Elocution. 

The author has chosen and adapted what is best in 
our modern writers on the subject. The exercises, and 
chapters on voice and its qualities have been taken from 
Professor Vance's "Voice Culture," now out of print. 
The poses are partly from Delsarte. 

To render the work practical, to bring it within the 
scope of students of ordinary talent has been the chief 
object of the author. It goes forth cheered by the best 
wishes of one devoted to the art and anxious to promote 
its interests. 



Dominican Convent, St. Charles Ave. 
New Orleans, Feb. 2nd, 1893. 



PART I. 



ELOCUTION AS AN ART. 



INTRODUCTION. 



Elocution may be defined as the intelligent, intelligi- 
ble correct and effective interpretation of thought and 
emotion in speech and action; it can not be learned by 
precept alone, it requires the assistance of a teacher. 

Orthoepy, or the art by which we obtain a precise syl- 
labication, correct articulation, proper accent and pure 
enunciation of our language, may be a life-long study, 
perfected only by close earnest labor. The greatest good 
a teacher can effect herein, is to awaken observation, 
and thought, and thereby give greater impetus to appli- 
cation; also, if possible, to excite determination to mark 
distinctions, subtleties and niceties that attend words; 
to note the chasteness, the precision of our language 
when correctly spoken, and to know that, these are 
the objects of the Elocutionist. 

To one beginning this study we would say be natural; 
the artist is a master, not an imitator. Art enshrines 
the great passions of the soul, but is not itself passion ; 
whatever is genuine in art must proceed from the impulse 
of nature and individual genius; nothing is fine therein, 
that has not been taken from something finer in nature. 
Ideals are based on eclectics. The student who chooses 
the finest models in nature, shall have the finest work in 
art. In the study ot this art, the proper objects, when 
a good foundation has been lcdd in the voice training, 
are to acquire just proportion and grace of expression. 

An elocutionist must appear artless even when most 
artful, else power is lost and effect destroyed. In the 



2 ELOCUTION AS AN ART. 

most exciting expressions, emotions must be sustained, 
words pronounced distinctly and proper emphases main- 
tained. Precipitation kills force. The student's aim 
should be repose of expression; this, taste shall refine, 
and culture perfect. Sincerity, vigor and power can 
never be harmonized until softened by taste. If inter- 
preters feel sentiment, gesture, even with a poor voice, 
shall reveal its import, for sentiment never plays false 
and there is no snbstitute for reality. Success depends 
upon the mighty purpose to excel and to shrink from no 
labor demanded by the study of this art. 




ELOCUTION AS AN ART, 




FORMATION OF VOICE, 
CHAPTER I. 
FORMATION OF THE VOICE. 



ANATOMICAL SECTION VOICE ORGANS AND RELATIONS 

i Cavities or fissures, in the head bones ( frontal and 
sphenoidal cells ). 2. Channels of the Nose ( sup. mid. 
and inf. meatus). 3. Hard Palate. 4. The Nostril. 
5. The Tongue. 6. The Tongue up-lifted, in action. 
7. The Larynx, with thyroid cartilage in front. 8. The 
Ventricle of Larynx. 9. Vocal cords, or bands. 10. 
Points to the glottis, or slits between the cords through 
which the breath passes. 11. Trachea ( or windpipe). 
12. The upper part of Epiglottis, in act of shutting 
down. 13 The Tonsils on each side of palate. 14. The 
Uvula, or soft end of palate (lax or pendent). 15. Dotted 
lines — The soft palate raised. 16. The Eustachian Tube, 
opening to the ear. 17 — 17. The Pharynx. 



The organs that give form to voice are divided in- 
to voluntary and semi-voluntary. To the first belong 
the breathing muscles, throat, tongue, lips etc; to the 
second, the abdominal and dorsal muscles, diaphragm, 
thorax, pleura, lungs, bronchial tubes, trachea, larynx, 
glottis, epiglottis vocal cords, pharynx, uvula, hard 
palate, mouth and nose. 

The cavity of the nose may be regarded as a collection 
of six small tubes, each nostril being separated into 
three channels running horizontally from before, back- 
wards and opening into the pharynx. The base of the 
nose, is formed by the roof of the mouth, 

The mouth requires no description and is noted here 
simply as among the principle organs connected with 



6 ELOCUTION AS AN ART. 

the voice. Its capacity varied and affected by other 
members, has especially to do with the character of vo- 
cal sounds. 

The hard palate is the arch or sounding board of the 
mouth, and extends from the front teeth to the soft pal- 
ate, which falls like a curtain separating the front part 
of the mouth, from the back part or pharynx. 

The uvula or soft palate is seen at the back part of the 
mouth, overhanging the tongue and pendent from the 
soft palate, at each side of which lie the tonsils, surround- 
ed by fauces. Between the fauces on each side, opens 
a tube ( the Eustachian) leading to the ear, and which 
ranks among resonant organs, modifying the voice. 

The pha?ynx or swallow forms the open space at the 
back of the mouth, with varying dimensions in different 
persons. Its enlargement gives depth of tone and reserve 
force; its contraction gives high tone and shrillness to 
the voice. 

The larynx is directly in front of the pharynx and is 
commonly called ''Adams Apple." The cavity within 
is bell-like, its principle vocal function being, resonance. 
Upon its dimensions, in a great measure, depends 
the depth, power and strength of voice. It shall be 
found that the person, who has it largely developed, 
other things being equal, possesses strong vocal ca- 
pacity. 

The vocal cords are a portion of the larynx, making it 
the general instrument of sound. They are two in num- 
ber, triangular in shape, broader and flatter on the upper 
surface. They lie about half an inch from the top of the 
larynx and consist of strong, white and highly elastic 
tissue. In vocalization they approach a parallel posi- 
tion; subject to the action of the larynx, they elongate 
or contract as it increases or diminishes, and upon such 



FORMATION OF VOICE. 7 

changes depend the pitch of the voice — extension giving 
deep tones, contraction — high. 

The glottis is the slit between the vocal cords and is 
distended by their lateral action. 

The epiglottis is a valve or lid employed, in the act of 
swallowing, to cover the glottis. It stands immediately 
behind the tongue. The trachea, or windpipe, is the con- 
tinuation of the larynx, in the form of a gristly duct, 
running about four inches from the lower portion of the 
larynx. The bronchial tubes are a continuation of the 
trachea, divided into two branches, one that leads to 
the right, an other to the left, both ultimately termin- 
ate in spongy air cells — the lungs, which are situated on 
each side of the chest and are the receptacles of the air we 
breathe. At every expansion of the chest the air rushes 
into these cells and is again driven out by muscular 
contraction. The pleura is the thin membrane which 
surrounds the lungs contracting and expanding as it is 
operated upon, in harmony with the diaphragm, 
abdominal and pectoral muscles. The diaphragm serves 
as partition between the chest and the abdomen. It 
moves in harmony with the abdominal muscles, and 
separates the upper from the lower register. In 
breathing the lower register brings into action the abdom- 
inal and dorsal muscles — the upper plays on those of the 
thorax. We should breath as much as possible from the 
lower register, it gives fulness and power to the voice 
and preserves health. The abdominal, dorsal and pec- 
toral muscles act in harmony with the diaphragm to 
produce a forceful and complete respiration. The more 
control we obtain over abdominal and diaphragmatic 
muscles, the more perfect shall be our breathing, the 
more complete our command of voice. 



FORMA TION OF VOICE. 
CHAPTER II. 



ELEMENTARY SOUNDS. 



An elementary sound is one that requires a fixed 
position of the vocal organs; as, b. p. d. t. 1. m. etc. 
The number of sounds to be called elementary and their 
precise characters, are unsettled questions among Lexi- 
cographers and Phonologists. 'Three conditions char- 
acterize each sound: 

ist Its organic formation. 

2nd Its character as sound. 

3rd Its relative capacity for elocutionary purposes. 

Articulate sounds, called consonants, require the 
contact, application and action of the vocal organs upon 
each other; this is articulation, as contradistinguished 
from vocalization, which is common to lower animals. 
Non-articulates, called vowels, require merely a fixed 
position of the mouth and organic parts, but no contact. 

The division of sounds into tonics, atonies and sub- 
tonics, refers to the musical capacity of those sounds 
which are clearly musical tones; tonics are singing tones 
for the musician; for the elocutionist, those letters or 
syllables susceptible of tension, or sustained sound 
force; atonies cannot be applied in singing, nor sus- 
tained in elocution ; subtonics have a subdued 
musical tone — a minor murmur, that comes immediately 
under the tonics employed by musician and elocutionist. 
The organic formation of sound is effected by the mutual 
action of the organs of speech and their adjustment, 
also by the general shaping of the mouth in their forma- 
tion. Improvement herein can be effected by teaching, 
by close observation and practice. 




FORMATION OF VOICE. g 

Sound, as light and heat, is a radiant 
force. It has its circles, centres and 
radii; as they, it can be focused, re- 
flected and refracted. Suppose the 
sound oo falls on a diameter of a 
circle, then shall E. A. Ah! Awe, Oh! 
fall on arcs as shown in diagram. 

EXERCISE FOR LIPS AND JAWS. 

Pronounce the vowel e, extend lips sidewise — show 
tips of teeth. 

Pronounce ak, drop jaw, open mouth wide. 

Pronounce oo y (as in cool) contract the lips. 

Practise the following: 
E-A-OO; E-OO-AH; AH-E-OO; OO-AH-E; OO- 
E-AH. Repeat several times consecutively. 

EXERCISE FOR LIPS AND TONGUE. 

Set the teeth half an inch apart, form the above 
sounds, taking care not to move the jaw. 

EXERCISE FOR JAW. 

Whisper alternately the sounds e and ah. Allow the 
jaw free movement. 

EXERCISE FOR LIPS, TONGUE AND PALATE. 

Pronounce IP, with a smart percussive recoil ; IT, the 
tip of the tongue, touches upper teeth and promptly re- 
coils; IK, the tongue shuts against the soft palate and 
promptly recoils. Combine and repeat as in former 
exercise. In this manner the pupil may be exercised in 
aspirates, sub-vocals and liquids. 



ELOCUTION AS AN ART. 



Observe the organs employed to produce the follow- 
ing elementary sounds, also the characteristics of 
mouth formation. 



NON- ARTICULATES TONICS. 



Shot. 




Long. 


Coakscent. 


p-I-t 




Ee-1 




p-E-t 




E-re 


A-le 


p-A-t 




A-ir 


I-ce 


p-A-n-t 




A-rm 


Ou-t 


c-O-t 




A-ll 


Oil 


p-U-t 




O-re 


O-ld 


b-U-t 




Oo-ze 
Urn 

ARTICULATES. 


U-se 


Atonies 






Subtonics 


Fat 


Thin 




Gag 


Then 


Church 


When 




Did 


Zone 


Cook 


Hero 




Bob 


Azure 


Fife 


Hot 




Judge 
Valve 


Err 



To improve voice compass the above sounds may 
be practiced thus: Begin at i, left hand, ascend to 8 ; 
then descend to i, right hand, tonics first. 



Atonies. 



Tonics. 



Subtonia 



Short. 



Lorn 





Coakscent. 




8 Fat 8 Pi 


t Eel 8 Did 8. 


7 When 7 Pet 


7 Ale 7 


Ere 7 Bob 7 


6 Pop 6 Pant 


6 Ice 6 


Air 6 Valve 6 


5 Thin 5 Pat 


5 Out 5 


Arm 5 Then 5 


4 Fife 4 Cot 


4 Oil 4 


Urn 4 Azure 4 


3 Cook 3 Let 


3 Old 3 


Ore 3 Sing 3 


Hot 2 Put 


2 Use 2 


Rule 2 Zone 2 


Church 1 But 


1 Ooze 1 


Or 1 Gag 


For coalescent begin 


1 Left ha 


nd and ascend to 7, 



. FORMATION OF VOICE. it 

and descend to i right hand ; or, begin at 7 above arid de- 
cend to 1, raising the pitch as you ascend and lowering 
it as you descend. 



CHAPTER III. 



BREATHING. 

Voice is breath converted into sounds by muscular 
action. The more breath and the greater power of the 
muscles, the stronger and fuller the voice. The forms 
of breathing are as the forms of voice, the effusive, ex- 
pulsive and explosive. 

Position for Exercise. — Let the student stand 

erect, body straight, chest full, shoulders back, one foot 
slightly in advance of the other, and from two to four 
inches apart. The retired limb should be straight and 
well braced — never stiff; weight resting on retired foot, 
arms lateral or a-kimbo; fingers forward, thumb 
back on dorsal muscles, head exactly poised. — 
Inhale — then proceed to exercise. 

The Effusive Form. — To practise the effusive, in- 
hale and exhale slowly through the nostrils ; repeat the 
same forcibly and abruptly. Inhale, through the nos- 
trils, and retain the air as long as possible. Do this 
several times, on each occasion expel the air in a 
long, deep whisper of the vowels A. E. I. O. U., or 
count from 1 to 10, or expel with a great sigh, rendering 
audible the sound hay ! Inhale as before, against 
pressure of hands on walls of chest. Retain the air 
and position of hands, then expel the air forcibly, whis- 
pering the same sounds as above. 

The Expulsive Form. — Practice the inhalation as 
before, through the nostrils. Retain the air in the lungs 



12 ELOCUTION AS AN ART. 

for a moment ami then with rapid action of the abdomin- 
al muscles expel it with force, throwing the column of air 
against the back part of the roof of the mouth, with the 
sound "huh" clearly audible. To this may be added 
forms of sighing; viz: a full and rapid inspiration and 
expulsive expiration; first through the nostrils and then 
through the mouth. Again with the air drawn in and ex- 
pelled with tremulous action in form of shortened sobs. 
This exercise shall be found most essential in the sub- 
sequent rendering of emotional passages. 

The Explosive Form. — Draw in the breath as first 
directed. After a momentary suspension allow a slight 
effusion so that the passage below the larynx be not 
quite filled. Then open the mouth as before, (three- 
fourths to one inch,) and with strong, rapid action of 
the abdominal and dorsal muscles and diaphragm, drive 
the breath suddenly, forcibly and sharply, with an ex- 
plosive " hoh," against the palate or roof of the mouth. 
This may be practiced about a dozen times at once as a 
most effective means of opening up the voice, strengthen- 
ing and getttne more instantaneous control of weakened 
functional muscles, but should not be practiced more 
than once or twice daily. 

The main thought in the above exercises must be to 
breathe strongly and naturally, keeping the vocal organs 
well open and making the lower muscles do the work, 
without anv movement of shoulders or bodv. 



CHAPTER IV. 



THE VOICE. 

The functions of the voice are twofold: to transmit 
words to the ears of others, and to convey or awaken 
emotion in their hearts. In transmission the speaker 



FORMATION OF VOICE. 13 

must attend to pitch, tone, distinctness and movement. 
The voice has three pitches; the high, the low and the 
middle, which is generally the conversational and 
that which students should most assiduously cultivate. 
In speaking before an auditory the voice should be 
pitched high enough to reach the members farthest from 
the speaker. 

Voice power does not lie in loudness, but in distinct- 
ness of enunciation and correctness of pronunciation. 
The teeth must cut every syllable sharply and precisely, 
so that every sound be produced perfect in its kind, and 
carried to the ear separately from every preceding and 
every following sound. To acquire skill in this, we 
must give attention to movement which may be slow, 
or rapid, or moderate, as the mode of the subject varies. 
As a rule, the movement corresponds with the style of 
the subject, the quantity of syllables, and their capa- 
cities for prolongation. Light, playful matter is quick, 
sometimes rapid ; strong emotion, awe and reverence, — 
slow; passion and deep earnestness, quick or very rapid 
but — always distinct, clear and cutting. Remark — voice- 
strokes can be made only on consonants. 

Rapid Movement. Passion. — "Ye gods! Ye gods! 
must I endure all this? " 
Rapid. — Earnestness. — 

" There is a drop, " said the Peri, " that down 

from the moon, 
" Falls through the withering airs of June, 
" Of so healing a power, so balmy a-breathe 
" That e'en in the hour, that drop descends." 
Slow. — " Contagion flies and health reanimates earth 

and skies." 
Moderate. — " The air, the earth, the water, teem 
with delightful existence." 



14 ELOCUTION AS AN ART. 

The voice has three forms: the effusive, which it 
employs in pathos, pleasing thoughts, reverence, devo- 
tion, etc. 

Pathos. — " And now farewell, 't is hard to give 
thee up, 
" With death so like a gentle slumber on thee." 
Reverence. — " As if an angel spoke, 

" I feel the solemn sound." 
Pleasing". — " The curfew tolls the knell of parting 
day! 
11 The lowing herd winds slowly o'er the lea." 
The expulsive, which serves to expel the voice with 
force, through impassioned, oratorical earnest., decisive 
thought. 
Impassioned. — Earnest. — We hope to make the 
sender blush for it. 
Therefore, my lords, omit no happy hour 
That may give furtherance to our expedition ; 
For we have now no thought \n us but France. 

(Shakespear's Hen. V. act I. Scene I.) 
Oratorical. — " Shall an inferior magistrate, a govern- 
or who holds his power of the Roman people, 
in a Roman province, within sight of Italy bind, 
scourge torture with fire and red hot plates of iron, 
and at last put to the infamous death of the cross a 
Roman citizen ? Shall naught restrain the wanton 
cruelty of a monster, who, in confidence of his 
riches strikes at the root of liberty and sets mankind 
at defiance? " 
The explosive drives the voice out with violence and 
power, as in strong command, passion, alarm, etc. 
Strong Command. — " I say thou shaltl " 
Passion. — " By all my hopes, most falsely doth he — 
lie." 



ZONES OF THE HUMAN FRAME. 15 

Explanatory Clauses or Parentheses are of two 

kinds; light and heavy; or, important and unimpor- 
tant; the former should be pronounced in quicker 
time and lower tone than the sentences in which 
they occur; the latter should be slower in time and 
more emphatic in expression. 

Voice qualities are five: Pure tone, arotund, guttural, 
pectoral, aspirate. The attributes are six : 

Form, be it effusive or explosive. 

Quality, be it pure, guttural, arotund, aspirate. 

Force, be it abrupt, subdued or impassioned. 

Stress, be it radical, final, median, compound. 

Pitch, be it high, low, middle, very high. 

Movement, be it slow, rapid, moderate. 

The compass of any voice is that range of sounds as 
measured in the musical scale, which reaches from the 
lowest to the highest clear sound that can be made. 
The degree of this range, in elocution, depends upon 
the pitches, force and expression which the student 
can acquire and use with ease to him or herself and with 
pleasure to hearers. No one can master these without 
earnest and diligent practice. 



CHAPTER V. 



Zones of the Human Frame. 

"Art," write? Delsarte, "is at once the knowledge, 
the possession, and the free direction of the agents by 
virtue of which are revealed the life, soul and mind. It 
is the relation of the beauties scattered through nature 
to a superior type. It is not, therefore, a mere imitation 
of nature. Man is the great promoter of art — its in- 
ventor and improver. 

For the convenience of pupils, Elocutionists divide 



1 6 ELOCUTION AS AN ART. 

the human frame into three grand zones, each of which 
is subdivided into three smaller — this is what Delsarte 
calls the ninefold accord. 

These zones are points of arrival or departure for ges- 
ture; as, are also the sub-zones of head and torso. The 
head has three active and three passive zones. 

Active: — 

Frontal (from the Latin, Frontis, forehead). — Mental. 

Buccal (from the Latin, Bucca, cheek). — Moral. 

Genal ( from an old French word, pertaining to the 
mouth or chin). — Vital. 

Passive: — 

Temporal (from the Latin Tempus, time) two hollow 
bones above the eye, or anteriorly between eye and ear. 
— Mental. 

Parietal (Latin Pareitis, wall) two large irregular bones, 
occupying the lateral and upper parts of the skull— Moral. 

Occipital. (Latin, Occiput, back part of the head,) a 
bone that runs at the base of the brain. — Vital. 

The zones of the Torso or trunk are: 

Thoracic. — Chest or upper Register — Mental. 

Epic astric. — Middle — Moral. 

Abdominal. — Lower Register. — Vital. 

The diaphragm separates the upper from the lower 
register. 

Upper Limb Sections: — 

Hand. — Mental. 

Forearm. — Moral. 

Humerus. — Vital. 

If we notice the hand moves with the mind, the fore- 
arm, and the elbow with emotions and affections. The 
upper arm or humerus with passions. 
Lower Limb Section:— 

Foot. — Mental. 



EXERCISES TO ACQUIRE EASE OF POSE. 17 

Knee and Leg. — Moral. 

Femur. — Vital. 

The foot works with the mind — An angry person 
stamps, a nervous person moves his feet incessantly — A 
thoughtful person taps; a musical person beats time etc. 

We bend the leg in reverence, veneration, love, respect 
etc. Through its movement we express obedience sub- 
ordination. 

The femur or thigh is the source of locomotion, the im- 
pelling force in walking and running. The shoulder meas- 
ures our emotions or passions. It marks their degrees of 
intensity or vehemence, but it scarcely determines their 
kind, though if observed closely we believe it also per- 
forms this function. In all cases it harmonizes with the 
head. In grief, love and joy, it is raised and slightly 
contracted. In pride, scorn, indignation it is depressed 
and thrown back. In anger, revenge, dire jealousy 
and other passions it is contracted in proportion to the 
vehemence of the passion. Give attention to yourself 
and you shall find the above verified ; or watch an orator 
or a preacher when he forgets himself in his subject. 



CHAPTER VI. 



EXERCISES TO ACQUIRE EASE OF POSE. 

There are four rudimentary positions of the feet and 
lower limbs which students should practice from the 
beginning and to which teachers should give special 
attention, as ease in these adds much to the grace and 
elegance of motion. 

In the first position let the student stand with his full 
front to the audience, the weight of the body resting on 



1 8 ELOCUTION AS AN ART. 

the left foot and the right two inches or three in ad- 
vance, or one toot nearly at right angles to the other. 

The second position is effected by gracefully swaying 
the body from right ( 2 ) to left ( 1 ) — from first position, 
or that of rest, until the right foot bears the weight of 
the body, which then assumes the appearance of action 
in that direction. 

The third position is the reverse of the first; the 
fourth the reverse of the second. 

We have also four simple movements of the feet. Slip 
the right foot forward, bring its heel almost on a line 
with the toe of the left; then slip the left until you 
resume your first position: slip the right side-wise or 
backward the same distance as you slipped it forward, 
then move the left as before, when both feet re- 
sume the first position, you find yourself either two 
steps forward, or two steps to left or right of where you 
stood previous to your move. To regain your place re- 
peat the movements, begin with the left foot. 

To move from a place — begin with the right foot; to 
regain that place — begin with the left foot. Never lift 
your feet, always slip or glide. Observe how artists 
move on the stage. 

Grace and elegance of bearing are natural to many 
persons, whether of high or low sphere, those whom na- 
ture may have deprived of these gifts shall acquire them, 
to a degree, by the practice of calisthenics and by such 
simple exercises as the following, based on the four 
primary positions of the limbs. 

All gesture which has relation to external objects, or 
is from oneself as a center is, excentric — or from the 
center. 

All in ourselves, subjective, concentric (con with or to- 



EXERCISE TO ACQUIRE EASE OF POSE. 19 

gether) with the center. 

Gesture balanced is termed normal — natural, unbiased. 

Gesture may be influenced by training, age, habit and 

constitution. 

We believe gesture cannot be taught — it is evolved 
by the character of the speaker and the nature of the 
subject! but grace and ease of manner can be acquired 
by practice. 

Attention ! At this command the pupils throughout 
the exercises shall resume the first or initial position. 
Attention ! 

Exercise I. — Stand at ease, weight distributed equally 
on both limbs, arms lateral, head and form erect, eyes 
looking straight before. 

Attention! 

Exercise II. — Cast weight on right limb, incline head 
to right, torso to left. This gives Hogarth's curve of 
grace and Delsarte's Harmonic Poise. 
Attention ! 

Exercise III. — Change weight slowly from right to 
left, preserve, if possible, proportion of grace or curve. 
Practice these movements vice versa five or six times. 
Attention ! 

Exercise IV. --Advance right foot, cast whole weight 
on right limb. Incline head forward, torso slightly the 
reverse. This inclination depresses the waist line and 
raises the chest — still curvilinear motion. Reverse these 
motions. 

Attention! 

Exercise V. — Carry left foot back. Cast weight 
thereon, head slightly back, torso forward. Sway gently 
forward until weight rests on right limb — allow head and 
torso also to move in opposite direction. Bring right 



2o ELOCUTION AS AN ART. 

foot towards left, head incline therewith, torso incline 
to right. 

The slowness, evenness aud ease with which changes 
are effected produce the grace and elegance of motion 
required. 

Attention ! 

Exercise VI. — Weight on both limbs, feet together, 
sway gently forward until weight rests on ball of feet — 
heels on ground — head slightly forward, torso propor- 
tionately backward. 

From above, sway gently back until weight rests on 
heels, head slightly backward, torso in opposition, toes 
on ground. Repeat and reverse. 
Attention! 

Exercise VII. — Turn torso to right, head at the 
same time to left. The thighs do not move. Reverse 
and repeat. 

Attention ! 

At this command pupils shall take position as in 
exercise VIII. 

Exercise VIII. — Seat yourself at ease. Incline torso 
forward, head- back, make both movements at once. 
Reverse and repeat. 
Attention ! 

Exercise IX. — Simultaneously incline torso to right, 
head to left. Reverse and repeat. Also incline torso 
forward and to right, simultaneously head back and to 
left. Reverse and repeat. 
Attention! 

Exercise X. — Combine forward side movements with 
rotatory movements of waist and head. Sway gently 
from back-left, to forward- rig tit. preserve oblique 
lines, these are always graceful. 



AR TICULA TION. —CORRECTNESS. 2 1 

CHAPTER VII. 

ARTICULATION. 

Articulation is the proper and distinct enunciation of 
elementary sounds. The organs of articulation are the 
pharynx, the palate, tongue, teeth and lips. The or- 
gans engaged in these are divided into active and 
passive. The active are the soft palate, tongue, lower 
jaw and lower lip; the passive, or those to and from 
which the others act, are the hard palate, upper gum, 
upper teeth and upper lip. To be good, articulation 
requires correctness, distinctness, ease and elegance. 
Correctness as an essential of articulation must be based 
upon a true understanding and intelligent practice of 
the sounds and combinations of elements in words. 

Attention to the following syllabic groups shall im- 
prove the students: 



Group. 


Pronounced. 


Examples. 


Tion ) 


like Shun 


j Nation 
1 Pension 


Sion f 




Sion 


like Zhun 


Confusion 


Cean ( 
Cian j 


like Shan 


j Ocean 
j Optician 




Geous | 
Gious \ 


like Jus 


j Courageous 




( Religious 


Cial | 
Sial j 


like Shal 


j Commercial 




\ Controversial 


Tial 




Partial 


Ceous ( 
Cious f 


like Shus 


j Farinaceous 




( Capacious 


Tious 




Sententious 



We now proceed with exercises upon words which we 
think and trust shall repay the student for the time 
bestowed. 



22 ELOCUTION AS AN ART. 

Position for Practice. — Stand erect. Use full 
breathing, clear tone, slow time, moderate pitch, give 
but no more breath than is converted into pure sound. 
First, take the element with its catch-word, pronounce 
it several times; then proceed with the exercises. The 
italicised words and syllables in the exercises are those 
intended for practice and shall be found to consist not 
only of those embracing the vowel or element proper, 
but other cognate or equivalent sounds. 

Correctness. 

Italian or grave sound of A, as Ah, Far, Aunt. 

Ex. I. — Pa-pa ca/ms mam-///tf, and ai/nt com///a//(/s 
Charles to craunch the «/-moads in the /iaa/i-led 
p<2/hs; his w^-ster de-///<?//-ded a hrt//nch of/#/--tridge 
of /a-ther, and to// //-ted the A?// //-dress for sa/ve from 
the ba-//tf-na tree; J^r-vis farms sar-sa-pa-ri-la. in A- 
mer-'i-ca; ma-m\-/a ba/m is a charm, to halve the 
qua////s in Ra-\en-na\ he <?-bides in Chi-//<7, and 
v#//nts to have sau/i-tered on the a.-re-na, to g//^rd 
the vil-Az h<?«rths from mias'ma and /iar/n-{u\ ei-flu- 
via; they /(7////-ted on the so-fa ^r-gu-ing pstf/ms, 
and for- mu-la for jau //-dice in Mec-ca or Me-di-//^; 
avaunt and run the g^/zntlet with your in am-ora-ta. 

Sound of E (short) as in Met, Men, Sell, Ferry. 

Note. — Make this sound clear and bright by very rap- 
id action of the muscles, throwing the air suddenly 
into the larynx. The charm of this vowel is in the 
sparkling sound that rings from it, especially when 
preceding /, ///, //, or s. 

Ex. II. — 7>11 the </W//</crat to s<md his splf//-did equi- 
page and hw-ther ephod or be/t which he h'nt when 
he w*//t to j?/;som : a z^zl-ous /^per c/<?//ched the de- 



ARTICULA TION.— CORRECTNESS. 23 

ficit with acetous growl, and s^t acetxe acid in the 
ket-t\e of eggs which ^r-hausted his dyspasia: get 
the non-pa-retl wea-pons for the r^-on-dite he- 
ro-ine; the ap pren-t\ee ior-gets the s/ie/c-e\s lent the 
deaf prel-ate for his heriot\ the clean-ly leg-ate held 
the tep-\d /nead-ow for a j^-cial home-stead; ste-e-o- 
type the/r^/"-ace to the ten-ets as a/r<?/-ude to our 
^-i-ble re-tro-^<:-tions! j'^-ter-day I guess 'd the 
/e/-id yeast ^-c^pai in T'Vbruary with an ^-i-sode 
from the <^-ic into thejW-als of the/<f^-ants sefi-na; 
the//n-sage is im-press'd on his ret-'i-na instead of 
the keg of ph/<?gm, for which he was amenable, and 
cleanly sent the cl<?#//ly clerk for cW^liness wh^re 
sp/<?//dor newer rem the heaven. 

What! threat you me with tell-ing of the king? 
Tell him and spare not! Look! what I have said 
I will avouch in pres 'ence of the king. 

Short sound of I, as in Pin, Pill, Miss, Mirror. 

Ex. III. — The ser-7'ile spirit of a rep-tile lib-er-tine is 
hos-tile to iem-i-nine fw/<?/-i-ty ; the pu-er-ile dis-c'i- 
p\i?ie of mer-can-t//^ <r/z/-cane-ry, is the ar-tif-i-cer of 
m//-i-ta-ry des-po-tisnr, the ier-tile eg-lan-tine is des- 
tin'd for a ju-ve-nile gift; the gen-u-/;/<? pro-Jile of 
the Cap-tain is the an-Z^-o-des of in-d\-vis-\-bil-\- 
ty; the wind, in the vi-cin-i-ty of Mount Z/^-a-nus, is 
me di-ci- nal for the brig '-and ; the pris' ' -tine foun-tain 
of the ad-a-man'-t/>^ spr///g is sul-//<?^ with the guil- 
ty guil'-lotine ; man is an ex'-quis-//<? e-///-o-me of 
the in-n-nite Dl-vin-i-ty, and sacr/f-i'cable at his 
will. Prophery, tyran/ry and ^no-sure are not syno- 
nyms for rj^nets, hyssop and /_yr-i'-tes. 



24 ELOCUTION AS AN ART. 

Short sound of O, as in Not, Don, Odd, Borrow. 

Ex. IV. — The sto\-\d hy-^r<?p-a-thist was prod-i-gal of 
his troth yet practised al/<?/-athy on all ^casions. 
The do/-o-rous coll-'\er trod on the bronzd oo-e-lisk, 
and his so/-ace was a corn-bat for #/;z-e-lets made of 
£W-geous cor-a\s, the vol-a tile pro-cess of making 
ros-in g/oo-\i\es of trop-i-ca\ mo/i-ades is ex-traor di- 
na-ry; the a^-ile George ior-got the j'oc-und copse in 
his .sw/z-bre prog-ress to the m^s bn?//z in jwz-der 
trough of h?iowl-edge ; beyond the flor-\d frosts of 
;//<?/';z-ing are the j^-o-rif'ic prod-wets of the /W-i- 
days. 

Distinctness. 

The student should bear in mind that distinct as 
contradistinguished from refined pronunciation, de- 
pends on the clear and correct enunciation of the 
consonant sounds. Only four of these sounds, called 
liquids, admit of prolongation; these are /, ;;/, ;/, r, and 
the complex ng. 

Read and speak with determination to give each letter 
or syllable its proper sound. No correct speaker articu- 
lates hurriedly. Mark this. 

Practice as before the following exercises: 

Labial Semi-vocal Sounds ofwh — as in — when, wharf, 
Lingua Dental '* th, soft, flat, as in this, then. 

" " " th, sharp, as in thin, think. 

Note. — Do not sound wh as as w, but utter the aspirate 
first, as if written hw — hwen, hwat. 

Ex. V. — Why does that ZiV/im-sical 7<.V/is-tler whee- 
dle the a/^ip-poor- wills with wheat ? Whi-Xom the 

ziV/eels dipped the «'/*//- fle- tree, and 7c'////-tle-ber- 



A R TICULA TION. —DISTINCTNESS. 2 5 

ries were white-washed for 7c/ieat; the w/u'm-per-ing 
7chi-ning whelp, 7vhich the whigs 7£///i-tert-ed on the 
whari was ii<he\med into a wAir/-i-g\g as a whim- 
wham for a wheel- barrow of wfas-ky. Thou saidst 
that these are thine and the youths that they are 
theirs with which they cut the withes: broth-er says, 
where with-a\ shall I smoothe the scythe to cut the 
laths to stop the mouths of the moths with-out be- 
ing bo///-ered? they gath-er wrea///s be-ne#//z the 
baths, and sheathe their swords with swath-ing 
bands; a //zirsty thief thirst-eth for the pa//z of death, 
and win-keM at his thank-less thefts, as the a-the-ist 
doth of //ze-o-r<?/-i-cal tru///s ; forth with the thrift-less 
throng threw thongs over the mouth of Frith or 
Four///, and ///war-ted the wrath of the/^/'/Z-ling thun- 
der; faith, quo/// the youth, the baM is my berth, 
the heart/z is my throne. 

Guttural and Palatal Cognates G. K. 

Sound of G hard or guttural, before a, 0, u, I, r, and 
often before e and i, as in get, give, gift. 

Ex. VI. — A c ^iddy ^oose got a ci-gar, and ^ave it to a 
gan-grene beggar; Scro c ^-gins, of Brob-dig-nag, growls 
over his ^reen-glass ^^-gles, which the bi^- ne-^ro 
^ath er-ed from the bog-gy quag-mire; a gid-dy gig- 
gling girl glides into the grog-ery, and gloats over 
the gru-el in the great pig-gin of the rag-ged grand- 
mother ex-claim-ing, dig or beg, the game is gone to 
the gib-bous moon. 

Gh in a few words has this souud : The ghas-t\y bur- 
ner stood a-ghast to see the ghost of the ghyle, eat 
the g has -tly gher -Y\ns in the ghos-tly burgh. 

Note, — Gh final is generally silent, as high, nigh, sleigh, 



26 ELOCUTION AS AN ART. 

weig/i. etc; but the foreigner who attempts our 
tongue alone can realize their inexplicable pronun- 
ciations when preceded by certain diphthongs — as 
in bough, plough, dough, though, through, thorough, 
borough, rough, enough, trough, cough, chough, laugh, 
hough, shough, tough, dough, slough. 

G has sometimes the palatal sibilant sound of ZH, which 
comes into our language from the French. 

Ex. VII. — It was of his pro-te-.gr, ( vro-te-zha) 1 spoke, 
but as you have mistaken it for pro-te-^-? your bad- 
inage ( bad-e-nazh ) does not effect the prestige of the 
men-age (men-azh). The charge d'affaires went to 
the menrtg-erie and put rouge ( roozh ) and gam-doge 
( boozh ) on his face before the mir-tf^. 

Z has generally this sound. S has it frequently. The 
az-ure ad-//<?-sion to the am-^-sial en-closure is a 
rose-ate treas-ure of z'is-ions of fleas-ures ; the sei- 
zure ot the viz-ier is an in-zvz-sion of the gla-z'iers 
di-zV-sions; the hosier takes the ^r^-zier's m?-sier 
with a-3rasions and cor-/7?-sions by ex-/#-sures, and 
treas-ures it up without e-/r>-*bns or persua^/ons. 

Palatal Cognate of G are k, c hard,CH (hard) q. 

Ex. VIII. — Zbs-ci-us-£o £ept his romrades in the 
/£itch'en ror'ridor with the Tartar A'han as ar//imer'- 
ical c/Hme'ra of the Chan who romplaisant'ly ^on'- 
templated the Maotic coquet'ry of the lime-^iln co- 
terie who pi^wed on account of pi^//ant mosses and 
quay in yiunich practised pi^//e't <7/iroman'cy and 
r/Hron'omy despite of magna-^//arta and courted a 
co^ette' who wore the queue and m^a-tfsins of 
Louis Quatorze in Chem nitz. 



AR TICULA TION. —DISTINCTNESS. 2 7 

Sound of X soft or flat, as gz— Example, Ex-ist. 

X has generally this sound when immediately preced- 
ing the accented syllable and followed by a vowel sjund 
or letter h in words of two or more syllables. 

Ex. IX. — The <?jc-iled shorter is ex-haust-ed by his ex- 
^-berant ex or-di-um, arid desires to be ex-on-er-a.- 
ted from ex-am-in-ing the //jtr-o-ri-ous ^^-^-u-tive ; an 
ex-act ex-am-in-a-tion into the t\x-ag-ger-a-tions of 
the aux-il-M-A- ries ex-hib-its a lux-u-ri-ant ex-i\e, who 
ex-ist-ed an ex-ot-\c in ^-em-pla-ry ex-a\-ta-tion. 
The verb to ex\\z has this sound, but the substan- 
tive, exile, has not. 

Labia-dental Cognates F and V — Fife, Vivify, Fifth. 

There is occasional difficulty in these sounds owing to 
hasty pronunciation. Let the upper teeth strike and 
rest upon the lower lip in commencing each enunciatio 
and the difficulty vanishes. 

Ex. X. — The gaffer li/ted his wife's /ather from the 
coffin, with his/^lchion in February, and forced the 
ferrule of his f<?rule in fetid figures before the face 
of the /utile foeticide. The /usil (z) /uchsia (or 
fooksia) was/acile proof of the freeman's franchise 
(z) and the fugue few tauntingly from hisy^age'o- 
let. 

My lively nephew Philip Fandezvznter belfcz^s in 
vagaries and zvztic'inal varioloid. He vaunts to 
have z'z'sited the zv'c'ar and improved his Z'<f/vet zvzlise 
with zv'va'cious z'<?rdigris ( es ) z/<?rbose z^nison and 
wbement z'/ril'ity. The z'/Vcounts z-isor, volut& and 
w'gnette are z'/rtual mdence of virtu (00) of this vo- 
lant vir-tudso. 

Labial Cognates B and P. 



28 ELOCUTION AS AN ART. 

Ex. XI. — A ro^-in im-bib-ed blub-bers from a bob-bin 
and ^^-bled for cab-bage: the rob-ber blab-bed bar- 
barously, and bam- boo -zled the tab-by ;z<z-bob. J^-cob 
dab-bled in rz^-bons, and played hob-nob with a *■<?£- 
ler: the bab-oon ba- by £■#£- bled its gib-ber-\sh, and 
made a hub-bub for its ^ and £/#<:/£- ber-ries ; the rab- 
ble's hob-by is to brow-beat the /5?-^;«-ble bushes for 
bil-ber-ries, and £r#e the boo-by of his £om-&z.y-tic 
^/W/£-bird ; /^-ple put pep-per in pep-per boxes, #/- 
ple-pies in <;&/-^oards, and whtf/-ping/tfp-/<?0-ses in 
in wrap-pers ; the hap-py pi-per /laced his /c<?r-less 
pup-py in To/n-pey's s/op-shop, to be/ur-chased for 
a peck of pap -py pip -pins, ora/ound of pul-ver-iz-ed 
pop-pies. 

Lingua-dental Cognates D, T. 

D has two sounds. First — Dart, Dog, Duke. 

Ex. XII. — A dan-dy de-fraud-ed his dad-dy of his sec- 
ond-handed saddle, and dubbed the had-dock a la- 
dy-bird; the doub-le head-ded pad-dy, nod-ding at 
noo7i-day, de-fcr-mined to rid-dle ted-ded hay in the 
fields till dooms-day; the ^b^-ged dry-ads ad-dicf-ed 
to de-pre-^z-tions, robbed the day-dawn of its dread- 
ed di-a-dem, and erred and strayed a goo^ deal the 
down ward road to ad-den-dum, and they rau;t 
die. 

D is silent in handsel, hand-some, hand-saw, hand- 
kerchief, and the first d in YVW-nes-day. 

Do not give the sound of j to d; as grand-eur- 
verd-ure, ed-u-cate,ob-du-rate, cred-u-lous, mod- 
u-late,, but speak them as though written grand- 
yur, etc. ; the same analogy prevails in na-ture, 
for-tune, etc. The following participles and adjec- 



AR TICULA TION. —DISTINCTNESS. 2 9 

tives should be pronounced without abridgment; a 
bless-*?// man gives unieign-ed thanks to his learn-^ 
friend, and helov-ed lady; some wing-ed animals 
are curs-/?// things. 
The second sound of D is that of T; when at the end 
of words, after c. f, ss, p, q, x, ch, and sh. 

Ex. XIII. — He curs-'// his stuffy shoe, and c\\pfd it in 
poaclid eggs, that escaped from the vexd cook, who 
watc/id the spic'd food with arc//'// brow, tr'ipp'd his 
crisp' d feet, and das//'// them on the maslid hearth ; 
she pi/'// and wisp'd a tune for the watc//V thief who 
jum/V into the sack'd pan and scratch 'd his XAanch'd 
face. 

T generally has this sound, yet it frequently has 
that of sh as in tial, tious, tion. In expectation of 
the sententions nuptials the optional notion of partial 
pronuncia///?;zin sentential ratiocination struck the ratio 
ra-tions of the nation at the rationale of rational flagi- 
tious retrospection. The li/-//e tat-ler tit-tere^ at the 
taste-iul tea-pot, and caught a tempt-ing tar-tar by his 
sa-//-e-ty ; the stout Ti- tan /00k a tell-tale ter-ma-gant 
and thrus/ her agains/ the /<?/-ter-ing /ow-ers, for 
twist-'mg tne ftit-ters ; TY-tus takes tne pet-u-lant out- 
casts, and tosses t\ien\ into na-Zure's pas-/ures with 
the ////-ties; the guests of the hos/s at-tract a great 
deal of at- ten- tion, and sub-stX-tute their pre-texts for 
te/n-pests ; the cov-e/-ous par/-ner, des-t'i-tute oi fort- 
une, sta/es that when the s/eed is s/olen, he shu/s the 
stable door, lest the gvav-i-ty of his ro-/////-di-ty tip 
his ////--tics into non-en-% 

Ex. XIV. — Could I embody and unboso?n now 
That which is most within me — could I wreak 
My thoughts upon expression, and thus throw 



3 o ELOCUTION AS AN ART. 

Sou/, mind, heart, passion, feelings strong or weak, 

All that I would have sought, and all I seek, 

Bear, know, feel, and yet breathe,— into one word. 

Add that one word were lightning, I would speak! — 

But — as it is — I live, and die, unheard, 

With a most voiceless thought, sheathing it as a sword. 

For ease of articulation we recommend the practice 
of the following exercises which, with other advantages, 
will give facile mobility to the vocal organs, upon which 
depends tha easy delivery of word-combinations in 
speech. 

Sibilant Sounds. 
Ex XV. — O'cero and SaWust, Sam SWck and ^phoclej- 
j-at .ride-wij-e on several .sinister ^n'-tenarie.*- and ses- 
qui-^v/tennials, discuss mg wcietey's plaVid aces'cency 
and dilaV<?rating with faV/le pin^rs the centrifugal 
and ^ntrip'etal forces which ser- rated r^rements of 
the -srtareous and setose Sepoy. The iv'b'ilant jv'lhou- 
ette .mri pi ifi>jf the sinciput si ' multa neous\y with the 
d<?/ultory ^phal'ic schism and senile r^r'vine pharma- 
ceutists sarce'-net The jra'bious scalene scaramouch 
scarcely jrclud'ed the scared separatist ere aperies of 
^q'ue^rtrationj- shrieked j//rill and ^no'rous for the 
spinach while the state of His Ejc<rellency suited them- 
■yelvej- to the soot around them, and sat ^/ual'idly 
silent in .sTV/pen'douj- soua'lor with pharmray/tic 
cer e brum. 
Lingua-Palatal Sounds of R. — Smooth amd Rough. 
About the pronunciation, or rather non-pronuncia- 
tion of this letter, there is a singular indifference. 

To make the smooth sound of r pronounce the word 
farm and dwell on the r — far-m. You will find the 
tongue moves upwards towards the palate. Then back- 



AR TICULA TION. —EA SE. 3 < 

ward as the sound proceeds. A little practice, observ- 
ing this movement, will repair its most inveterate abuse. 
Commence the sound deep in the throat. 

Ex. XVI. — The far-mers in for-mer years were the 

far-thest from for-cing war, re-gar'-ding it as bar'- 

ba-rous and far'-cical; the North-em-ers are gar- 

blers of hard-ware and per#er-ters of the er-rors of 

South-em-ers; dire seatch-ers af-ter burnt ar-bors, 

and store the e<?r-ners of their /orders with di-^er.? 

s^rts of dol'-lars; Charles goes to the far-ther bam, 

and gets lar-ger ears of hard com for the eair-ter's 

horses in Baltimore Ziarbor. 

The rough or thrilled sound of R must not be used 

except in emotional reading or speaking, and then only 

when it is followed by a vowel generally in the same 

syllable. Under other conditions it is improper. 

Some find it difficult at first to thrill the r. It is done 
by sending up the air with force, striking the tongue as 
it rises and causing the tip to vibrate against the roof of 
the mouth, or forepart of the hard palate. 

For practice try rub, r-r-ub, r-r-r-ub, r-r-r-r-r-ub, 
bu-r-r-r-r-r. 

Ex. XVU. — With rancorous raillery the rearing repro- 
bate reverberates his r/b'aldry and retreats from his 
regal throne to his ree-re-a-tion in the r 00k - e-ry ; the 
op-/rtf-bri-ous li-bra-ri-an ree-reantly threw the ^reat 
grid-'x-rorv among the crock-e-ry with \r-r e-p7-oach- 
able ei-front-ery, the re-sult of which were roman- 
tic breams, ^rok-en ribs, or ery-ing children : round 
and r^und the rug-ged rock, the rag-ged r<w-cal drags 
the .tfrong r/zz-noc-er-os, while a rat in a rat-\rap 
ran through the rain on a. rail, with a raw lump of 
red liv-er in its mouth. The riv-en re»cks are rudely 



32 ELOCUTION AS AN ART. 

rent assunder, and the rifted trees ri/sh along the 
^ river, while hoa-rj' bcwras r^nds the robes of spring, 
and rat-t/ing thunder roars around the regions. 

Mixed ARTicuLATions. 
Let the pupil pronounce slowly with a breath taken 
between each word, and expended on each succeeding 
word ; then after a while more rapidly, still breathing 
between, and continue practice until all can be pro- 
nounced easily and fluently in conversational tones, with 
natural breathing, full and forceful. 

Ex. XVIII — Rifles, dazzl'd, sparkl'd, mingi'd, rattl'd, 
troubl'st, trifl'st, shov'lst, kindl'st, struggl'st, 
puzzl'st, trampl'st, shield'st, trembl'dst, revolv'st, 
and shov'ldst, ended'st, madden'd, kindl'dst, trfl'- 
dst, trampl'dst, involv'dst, mingl'dst, stiff'ns, 
twinkl'dst, wak'ns, fondl'dst, dazzl'dst, rattl'dst, 
deaf'n'd, wak'n'd, whit'ns, rip'n'd, opens, sendst, 
wak'n'dst, lighten'dst, charm'dst, ripen'dst, heark- 
en'dst, doom'dst, or absorbst, strengthens, regard'st. 
madd'n'dst, curb'dst, hurl'dst, return'dst, strength'- 
nd, wrong'dst, lengthen'dst, struggle'dst, act'st, 
lift'st, melt'st, hurt'st, want'st, shout'st, touch 'd, 
parch'd, help'dst tasks, bark'dst, touch'dst, rattl'st, 
bursts, grasps, prompt'st, mists, bask'st, nestl'st, 
depths, enlist'st, droo/Vt, adepts, fifths, \a\ighs\., les- 
senst, rafts, prism, puzzles, overhelm'st, loo&yt, po:»7.f, 
farts, elms, bulbs, wolves, involved, buds, dzsks % 
asps and cubed, icebergs, lands, arms, satst, patched 
with forms of horns, webs, lodged, loo^Vt, acts, 
texts, he/p'st, txve/fts, m\/k'st, ha/7'st, filched, limp'st, 
atte/nptst, charm'st, precincts, and scornst, arch'J, 
want'st, flinched, thin&r/, hxirsts, war/'j/, dwarf's}, 
embark 'st, hurtst, worh'st. 



AR TICULA TION. —ELEGANCE. 3 3 

Elegance of articulation may be considered the sum 
of correctness, distinctness and ease — supplemented by- 
smoothness, grace and finish, which reasonable perfec- 
tion in the former only can effect. 

With this must be exactness of accentuation, clear, 
fluent enunciation of vowels in their syllabic relations, 
and an avoidance of that careless dismemberment and 
mutilation of words so much more common than we 
think, until we begin to give it special attention. 

A very common error is the strained habit of giving a 
and the, when unemphatic the long vowel sound. 
Avoid it. 

General Rule. — The is long before vowels, short be- 
fore consonants. Both a and the are long when em- 
phatic; in all other cases they are short. 

Another very common error is to confound with and 
withe. The former, a preposition, must be pronounced 
with, giving th the subtonic sound, as th in this. 

Withe is the substantive, and by all good authori- 
ties pronounced with the atonic sound of th, as in X.h\n. 

The inattention to faithful pronunciation of monosyl- 
lables, as OF, ON, FOR, FROM, AND, NOT, NOR, IT, OR, 

God, is a great blemish in our speech, and the whole of 
the above occur so frequently, that they mar the general 
pronunciation and grace of expression much more than 
we believe. 

In terminations, pupils should be careful not to pro- 
nounce el's as iVs, ed's as id's; ent's as unt's; ness as niss; 
nor to insert a u between the / and m of such words as, 
dm, helm, etc. 

Ex. XIX. Fuel, bush'/?/, yet, get, mar'ket, hatch'et, 
rack'et, rockV/, riv'ulet, honest, boldW, larg'est, 
smalYest, youug'est, strongest. 



34 ELOCUTION AS AN ART. 

"n , 

Hard' ness, bad' ness, harm' /ess, care' less t clear' ness, ful'- 

ness, seam'^/rm, hostVjj, em'press. 

Rest'ed, residW, decidW, regardW, exhibitW, cel'e- 
brated, excitW, delightW, supportW. 

Prii'dent, deV<?///, mo'ment, garment, monument, 
government, superintend'^/, parliament, (par'li- 
ment), sixpence, patience, experience, superintend'- 
ence, magnifi' cence, sentiment. 

Spasm, whelm, rhythm, phantasm, bap y tism, pa'tri- 
otism, elm, film, overwhelm, worm. 
It will be found that the most defective consonantal 
pronunciations are generally made upon final syllables 
ending in d, t, r, o, therefore have care in their enuncia- 
tion. 

Ex. XX. — Stand, the ground's your own, and with 
strong hands ho/^and defend the field against all de- 
mands, for on such depends the lands and fields 
your grand- sires boldly not bliw^ly but from hand to 
hand have held. The child's grandmother scolds the 
boldness of the old nurse who had not told her of the 
colds she beho/di - . It is a fact that he acts exactly 
in all respects as if those he accosts with his jests 
about ghoj-fr were posts, aud he abstrar/ly boai-A of 
compa^ and tracts which he instru<r/j- his host to 
inspe<r/, while in his fists he attempts to twist the 
lists and insi^ that coasts are costs. 

Do^not suppress the sound of e or of i before 1 or n in 
those words in which it should be articulated. 

Ex. XXI. — Travel, nov'el, barrel, parcel, hov'el, 
cha'p<?/, quarV<?/, sorrel, pencil, chickV//, linV//' sud'- 
den, mit' ten, sat' in 

The following are nearly or quite all the words of 
this kind in which the e is properly omited; barbti, 



A R TICULA TION. —ELEGANCE. 3$ 

betel, chattel, drazel, drivel, eas<?/, growl, mangel, 
wurzd, hazd, mantel, mispickd, mussel, navd, ous^/, 
ravel, rivel, scowl, shekel, shovel, shrivel, swingel, 
snivel, swivel, teasel, toggel, towsel, weasel and, 
according to a few orthoepists, model. 

Do not sound e or 1 before // or / in those words in 
which it is properly silent; as tven for evn, heaven for 
heav 11, bd sin for bas n, haz'el for haz'l, evil for eW. 

Pronounce ha'ven, sev'en, gold'en, o'pen, short'en, 
wooi'en, wak'en, wid'en, fro'zen. 

Dental Sibilant Cognates C, Z, X, S. 

Three words in our language end in ice — sice, sacri- 
fice, suffice, in which only the c takes the sound of z. 
These form unnecessary difficulties, are comparatively 
unknown to the masses, and even to scholars. As they 
are so few in number, and unsupported by any princi- 
ple or etymological necessity — not even useful to distin- 
guish noun from verb — they had better give way to 
uniform analogy; but are noted here, with their com- 
pounds, in authorized pronunciations. There are others 
of different endings, as follows: 

Ex. XXII. — While playing at sice, he discerned a sa- 
crifice, discerning which sufficed to dz'scernably sur- 
prise the sacrifice itself on the altar of sacrifice. The 
sacrificer discerns as matter of discernment amongst 
d/scernable things that these are all the words sacri- 
ficing the sound of c to z, and that suftVceth. 

S and X have frequently the sound of Z. 

The res/dent pres/dent redded in isolaced houses - ; and 
before reigning the Keys of Islam/sm, his pains from 
nasal causes, disarmed his greasy friends who d/sbursed 
his means and d/sdained to disgu/se their diswal phizes, 



36 > ELOCUTION AS AN ART. 

or to dwband the pmnires which resumed their harness 
in the grisly beard of Xenophon and Xerxes. 

Do not give to the Italian A, when unaccented the 
sound of short u. 

Nor to long E, when unaccented, the sound of short u. 

Nor to long O, when unaccented, the sound of short u. 

Nor to short O, when unaccented, the sound of short u. 

Ex. XXIII. — They abated and bridged the fanatic 
character in which the report bounds, and awused 
themselves by traducing and aggravating society 
. with a variety of impieties and emotional events 
which provoked and promoted opinions ^rcasionally 
opposed to sobriety. He ^served and obeyed the 
renditions, <wnposing in obedience the above melody, 
for which the ^m-mittee in its anxiety proposed to 
/n?vide position. 

Give to the vowel a in the unaccented terminal sylla- 
bles al, ant,ance, its short sound, but do not make it too 
prominent — pe'dal, ped'al, ped'ant. 

Ex. XXIV. — A petulan/ sycophan/ ignore;// of natina/ 
or polit'ica/ ordinance made signifies/, covenant 
with the tyrant for eterna/, final vengeance on the 
admira/, whose comica/ funera/ from the hospita/ 
was an instant of dissonan/ extravagance orcrimina/ 
deliverance. 

Do not sound sh like sr. 

Ex. XXV. — The s/triveled shrunken shrew shrieked 
frilly for Crimps and j//rub at shrovetide, and 
drugging her shoulders shrank down before the 
shrine .shrewdly showing the shreds of her driving 
shrond. 

Do not suppress the vowel sounds in unaccented syl- 
lables. 



VOCAL DEFECTS.— NASAL TONES. 37 

. Ex. XXVI. — Sal'a-ry is not cel'e-ry, and mem-o-ry from 
his-to-ry collects the des'perate mis-e-ry which ^-e-ry 
vic-to-ry per-haps has caused in ^very ^-ci-e-ty and 
fam'-\-\y where pri-ma-ry «r-e-mony <?r-din-ar-il-y 
made 72<?#z'-in-atives of ^'jec-tives/r/-ma-rily scat-ter' 
ring inmock'ery the crockery in the li'-bra-ry <W-tra- 
ry to all pro-/r/'-e-ty. 
Do not pronounce ow like ur or uh, 

Ex. XXVII. — I intend to-mornrce/ to borrow the yel/ow 

wheelbamw from that fellow who hollcnv'ed or hal- 

loo'ed for the widow's pillow and threw his shadow 

on the narrow ixxrrmu. The sorrowful shallow was 

swal/owed by the mellow crow on the bow window. 

Do not sound Hon or jw« like shin, nor too strongly 

like shon, but give to such endings the clear, short, 

bright sound of y//^,the vowels taking the short u sound, 

as of in son, done, money. 

Ex. XXVIII. — His pre'dilec//<?/z for ele-gi'ac exhorta'- 
Xion was a heinous derelic7/<?/z and caused great des- 
trucHon. The realizaHon of his resignation and re- 
nunciaHon made portentous exclamation throughout 
the nation to which in his passion for recreation he 
had given re' creation without trephination. 



CHAPTER VIII. 



DEFECTS OF VOICE. 



Nasal Tones. 
The office of the nasal cavities in phonation is to give 
increased intensity to upper partial tones. 

Nasal harmonics are of real value when properly con- 



38 ELOCUTION AS AN ART. 



trolled, and a due proportion must generally be present 
to add brilliancy and variety to vocal timbre, particular- 
ly in words containing ;;/, n, ng, which frequently occur 
in our speech. 

Let the pupil practise until he can clearly distinguish 
the brightness and sparkle of the nasal sounds in the ;/, 
m, and ng. 

Lingua-Palatal and Nasal Sound — X. 
Ex. XXIX. — The solendor shines on endless elms and 
hangs in denseness on the enchanted haunts whence the 
engaging duenna sends rudiments to non-resid^/z/i - 
and ^//listed members of the convention, where men 
made ?n urn- m\es ot gam-mon, and moon-beans of gum- 
my am-mo-n\ a, for a pre-mi-um on sonw/rt/W-bulism : 
mind, man-ners and mag-na-//////-ity a-///tf/-ga-mate 
em- b I ems for an ^/«-ni-um ^///-er-um ; the malt-man 
cir-cum-am-bu-lates the cim-me-ri-an //#///- mock, and 
tum-\Aes the mur-mur-ing midship-man into a mam- 
m i -form d \lem -ma. 
We sometimes make mistakes through an excessive 
precision, giving always the same sound to letters with- 
out considering their varied combinations. As example, 
n has frequently the sound of ng, where we labor to pro- 
nounce it n, as &7//g-quet, not ban-quet. This occurs 
chiefly when it is in the accented syllable and stands be- 
fore hard c, hard g, k, q or x. 
Nasal-Palatal — ng. 

Ex. XXX. — Con-gress con-quers the sfrang-ling dan-key, 
and sanc-tions the lank con-clave in punc-ti4-\ous con- 
course; the ttwi-gruine un-cle, anx-\ous to iin-ger 
much long-er among the tink-l\ng in-gots, j///-gles his 
rin-kled finger over the //'//-guist's an-gular shrunk 
shanks at the ban-quet in the bank; in cultivating and 



VOCAL DEFECTS.— NASAL TONES 39 

strengik-en-ing the un-der-stand-ing, by stud-y-ing, 
read-'mg, wri-t'mg, cy-pher-ing and speak-ing, I am 
thinh-'mg of con-tend-'mg for go-ing to «»g--ing meet- 
i»^: in re-ftn-qiiish-ing your stand-'mg in the crisp-///*?" 
iry-tng pan, by jump-z*//£- #-ver the wind-ing rail-ing, 
you may be sail-ing on the boil-i'ng o-cean, where the 
limp-ing \sjer-ring are skip-ping and danc-ing around 
some-thing that is laugh-ing and cry-ing, sleep-ing and 
wa-h'ng, lov-ing and smi-////£\ 

The following is one of the best possible exercises for 
the purpose here contemplated as well as for general 
voice culture and must be frequeutly used, with strong 
action of the abdominal muscles. 

On diphthongs, on and ow, as in bonnd, town, now. 

" oi and oy, as in boil, toil, boy, coy. 

Ex. XXXI. — He toiled and m<?/*led and found no joy; 
then boiled the oil and broiled the boy in s#z/r alloy; 
and yet the ^rcard found not power to cry aroint 
the, noisy owl; the <rr<?Zt'ded house down. whose <m>ustic 
halls the y^/nted joists were jw'led with w^/some 0/1 
contained a bower in which the gzVwur ens//r#//ded in 
power, endowed the Gent's prowess and /3<?////d the 
rowels on his re//<?7£'ned counsellor, whose cow bowed 
down devoutly and devoured sauer-kraut with a droz^sy 
mouse on the ///^//ntain. 
Sounds ot A short; as, in man,lad, carry. 

" A long before r; as, fare, bear, pair. 

Ex. XXXII. — Charity forbade the man to quajf or chaff 
at the lads hat that had black tassels to the /fond. He 
had a //andful of asparagus and a barrel of a/ples in 
that barrow, which had sat in the granary since Jan- 
uary last, and the charlatan chaperon chatted of 
pendent pendants, emanant from eminent masters. 



4 o . ELOCUTION AS AN ART. 

The <rtfptious ^puchins who .rate there tf^dining 
paraphs barely received the (are which (airly was 
th«>s, and dared not in despair offer a prayer for a 
larger share' The (airy pair c/iarily prepared their 
la/r in (airy land, and scarcity was scarcely ever 
there. The iair spoken, but careworn fair-one (air- 
ly rent the air, and garish eyes out-.r/ared the 
ganshness of glaring glariness. 



CHAPTER IX. 



STUTTERING. 



The most careful investigations have proved that 
spellism, or stuttering is the result of imperfect action of 
one or more of five different groups of muscles: those of 
the chest, of the larynx, of the tongue, of the jaw, of 
the lips. Additional causes may arise from mental in- 
fluence, nervous derangement or momentary want of 
co-ordination between nerves and muscles of speech, 
which intercept volitional, concerted action of the vocal 
organs. 

Sometimes, the effect is spasmodic when the organs 
become rigid ; again, it is chronic when the organ moves 
against the will of the speaker; the first form is found 
mostly among females, the second among males. 

These defects may be overcome by care, attention and 
diligent practice of certain exercises. Make the student 
thus inconvenienced familiar with the physiology of 
voice and breathing, then insert between his front teeth 
a small wedge, about three-quarters of an inch square, 
to keep the mouth fairly open. Select exercises that 
will compel and facilitate breathing freely, between 



VOCAL DEFECTS.— STUTTERING 41 

every syllable or word in expulsive or explosive form — 
As No. 1, page 22; or count from 1 to 20 and so forth. 
Ex. XXXIII. — To be-or n'ot to be ;-that is the 
question' : 
Whether-'t is nobler-in the mind-to suffer' 
The slings-and arrows-of outrageous fortune' — 
Or-to take arms-against a sea-of troubles, 
And-by opposing'-end v them? — To die;-to sleep r ; 
No mere; and-by a sleep'-to say-we end 
The heart-ache-and-the-thousand-natural shocks 
That flesh-is heir to,-'t is a consummation 
Devoutly to be wished. To die;-to sl£ep;- 
To sleep -perchance to dream — ay ' there is the rub ; 
For-in that sleep of death-what dreams may come 
(When-we have shuffled off-this mortal coil) 
Must-give us pause :-there's the respect 
That-makes-calamity-of so long life\ 

To summarize: 

1st. — True practice in breathing, with occasional 
regular whispering exercises. 

2nd. — Intelligent use of the wedge between the teeth 
and proper exercises to energize, support and raise 
the tongue towards the palate in its action. 

3rd. — Economical retention of breath; a regular, slow 
exactitude in its emission, with correct exercise in 
syllabic articulation. 

4th. — Full inspiration at the beginning of each sen- 
tence and regular supply of air at breathing in- 
tervals. 

5th. ---Rhythmic and metrical voice accent, with regu- 
lar movements and appropriate gestures. 

For this latter purpose the following or like well- 
measured selections, with gesture, will answer: 



42 \^ ELOCUTION AS AN ART. 

Ex. XXXIV. — For-who-would bear-the whips-and 

scorns-of time\ 
The oppressor's wrongs\-the proud man's-cOn- 

tiimely\ 
The pangs-of despis'd love, -the law's delay', 
The insolence-of office\-and-the spurns 
That patient merit-of the unworthy-takes', 
When-he himself-might-his quietus make 
With a bare bodkin'?-Who'-would fardels-b£ar, 
To grunt-and sweat-under a weary life'; 
But that the dread-of something-after death, 
The undiscovered country'-from whose bourn 
No traveler-returns', puzzles the will 
And-makes us rather bear-the ills we have 
Than fly-to others-that-we know not of? 
Thus conscience-does make-cowards of us all'; 
And thus-the native hue-of resolution 
Is sicklied o'er-with the pale cast-of thought, 
And-enterprises-of great pith and moment 
With this regard-their currents-turn away', 
And lose-the name of action. 

Also King Henry's prayer, on the eve of Agincourt. 
Afterwards energetic selections with action. 

With those, properly directed, success is certain where 
the pupil is in earnest, — which is the primary essential. 

The second is, that exercises should be continuously 
and not irregularly pursued with long intervals between. 

In all first efforts the teacher must lead the pupil, who 
at this stage proceeds by observation and imitation as 
in all art, and which is in this, as in other cases, simply 
supplemented and perfected by reflection and reproduc- 
tion. 



VOCAL DEFECTS.— STAMMERING. 43 

Stammering. 



This is simpJy an indistinctness of pronunciation, 
arising from defective muscular action. 

Its treatment, therefore, under an intelligent teacher, 
is very simple. Let him cause the pupil to repeat the 
alphabet slowly, and then read aloud for a few minutes, 
during which the teacher should carefully note the de- 
fective letters and confused or mispronounced combina- 
tions of syllables and words. Then if the instructor is a 
good orthoepist and understands the physiology of the 
vocal parts, or true basis of phonation, so that he can 
practically instruct the pupil in the management of the 
tongue, lips and other organs of speech, there will be no 
difficulty in finding amongst the exercises contained 
herein such as, in short practice, will thoroughly cure 
any case of stammering. 

Defects arising from malformation of certain elements 
give to them technical names which, however, do not 
concern us here: e. g. the undue pronunciation of G is 
termed "Gammacism;" of L " Lambdacism ;" of R 
" Rhotacism," etc. But having discovered the elements 
or sounds upon which the pupil is faulty, let the teacher 
intelligently select the exercises herein used for the 
correction of ordinary defective enunciation of such 
sounds. Then make the pupil commence, with the 
Teacher, counting the cardinal numbers, breathing 
properly between each and beating time thereon with 
his hand, foot or otherwise in musical manner. 

After short practice in this, change immediately into 
elemental exercises, and divert his attention by mechan- 
ical action in marking time. 



44 ^ELOCUTION AS AN ART. 

Lisping. 



Lisping is really the improper substitution of one 
sound or letter for another; viz., th for s, hence technic- 
ally termed "Sigmatism." 

The basilar cause of this defect is allowing the tongue 
to be thrust against or between the front teeth when it 
should be withdrawn therefrom. Its cure is very simple 
under the following practice. 

Take the sound E short and breathe it clearly forth 
with teeth slightly open. Then, when distinctly heard, 
close the teeth suddenly, withdraw the tongue, and 
make a hissing sound through the closed teeth. This 
will give the proper sibilant sound of s instead of th. 

Let the teacher illustrate that the defect consists as 
above explained, in substituting the sound of th for s. 

Ask, Asks, Assets. Asylum, Balsam, Basket, 
Best, Blessed, Chasm, Chest, Chinese, Conse- 
quence, Cars, Calls, Constantly, Causes, Cre- 
dence, Desist, Disease, Disgust, Dust, Dismiss, 
Exercises, Exhaust, Excise. East, First, Friends, 
Fist, Gospel, Glisten, Guns, Haste, Hospital, 
Hesitate, Insects, Inside, Music, Kissed, Past, 
Murmurs, Wishes. 

These and general exercise in reading and conversa- 
tion under correction of teacher shall, in a very short 
time, repair the defect of lisping. 

Labia-Vocal Defects. 



We have a class of readers in which a contraction of 
the muscles of the upper lip not only prevents the true, 
easy pronunciation of certain elemental sounds, but 



LABIA-VOCAL DEFECTS. 45 

unduly uncovers and exposes the teeth. This contrac- 
tion even in a state of rest offensively disfigures the 
features. 

Anatomy justifies the statement, and experience as- 
sures, that proper practice on appropriate exercises will 
give such pliancy to the lips that in reasonable time both 
defects shall be cured. For this purpose a continuance 
of the following exercises shall be found invariably suc- 
cessful. 

Let the pupil practise with a short peg, say three- 
quarters to one and a quarter inch in length, placed 
between the front teeth so as to force stronger duty on 
the muscles, and the end will be more rapidly attained. 

Ex. XXVI. — We pickled the blue berries and/ut the 
plum pits among black beans, but some one broke the 
bottle and A?hold when we came back beans, forries 
and bits of butter were daubed and partly mixed with 
potatoes, mess-pork and Boston beans. Much might 
have been picked up and many comments made, but 
poor mamma's wither was /resent, and we kept mum, 
while we wiped away the rubbish, sowing more dumb 
than many a mute. 
Ex. XXXVII.- — We wi\\ not Castor brag of bonnets, 
but we prefer the /roper //ofitable blue bombazine 
with white and black and brown between the purple 
ribbon bows. Before we went to Washington we 
fought blue, brown and black berries, which we put 
upon the muslin trimmings, and many people pro- 
nounced them most superbly pretty. But one some- 
times possibly presumes too much upon prepossession, 
prejudice or preference, for some will not wear big 
plumes of black and blue upon their best summer bon- 
nets when November or December suits them better. 



46 ^ELOCUTION AS AN ART. 

When the pupil improves with exercises, let him 
choose some strongly marked rhythmic prose or verse, 
which requires a full rotund voice. Practise this at first 
slowly; afterwards try to declaim. Be careful, before 
commencing, to take a full breath, and to replenish this 
during pauses. A few months of such practice, made 
regularly, shall produce satisfactory results. 



CHAPTER X. 



PAUSES. 



In every complete thought, the members are mutually 
related; some slightly, others Intimately. To give such 
thoughts expression, words must be exact: all relations 
in the thought must be placed according to their de- 
grees of intimacy. The strict preservation of this in- 
timacy gives clearness and strength, essential qualities 
for every well arranged sentence. In reading, relation- 
ship should be preserved; this is called Grouping. The 
reader, who groups correctly, reads with ease and grace. 

The tone, with which one begins to read or to speak, 
is termed Key-note or Tonic, and all voice modulations 
carried higher or lower than this tone, Inflections, 
which, combined with Pauses, give color and expression 
to the thoughts enunciated. It is not a matter of taste 
where we shall pause; rules determine what words are 
separable and what, inseparable. 

To ascertain these rules, let us run over the Verbal 
Relations, which are intimate and necessary. 

irst. — That of Quality and Substantive: or, Ad- 
jective and Noun, which are the most intimate of all, 
as a quality to exist must inhere in a subject; these are 



PAUSES. 47 

not separable even in thought unless by abstraction, and 
the result is an abstract noun that exists only in the 
mind: absolute adjectives, we treat as nouns. 

When adjectives follow nouns, we can separate them 
by a pause; for nouns exist independent of some quali- 
ties, but no quality exists ( the Blessed Sacrament 
excepted) independent of its subject. 

2d. — The Verb and the Adverb are in the same condi- 
tion as the substantive and adjective. An adverb, which 
modifies the action expressed by the verb, is not separ- 
able from the verb, even in imagination. But, an action 
may be conceived with some of its modifications, omit- 
ting others, precisely as a noun may be conceived with 
some of its qualities, leaving out others; therefore, when 
by inversion, the verb is first, we may interject a pause 
between it and the adverb that follows. 

3d. — Between the Agent and its Action, or Subject 
and Verb, we may pause ; for, an active being is not always 
in motion, and is, in idea, separable from its action. 
When a substantive takes the lead in a sentence, we 
know not that action is about to follow; but, when the 
verb comes first and the agent second, we cannot sepa- 
rate them ; for, action is not in idea separable from an 
agent, no more than a quality is from its subject. 

3d. — The pause of greatest delicacy regards the Act- 
ive Verb and its Passive Substantive, or its Object. 
These placed in their natural order should not be sepa- 
rable, as the object acted upon defines the limits of the 
action; but, should a parenthetical clause come between 
the verb and the object, we pause before and after such 
clause. When by inversion, the passive substantive 
comes first, we pause between it and its verb, for the 
same reason as before the active substantive and its verb 
or action. The same rule governs both: viz, " A verb 



48 ELQCUTION AS AN ART. 

cannot be separated in idea from the substantive which 
governs it, and scarcely from that which it governs." 
Substantives can always be conceived independent of 
verbs. When the object precedes the verb, we do not 
know that action is to be exerted on it, therefore we 
may pause until the action commences. 

5th. — Particles which do not of themselves represent 
an idea, as Articles and Prepositions, cannot be sepa- 
rated from the words that render them significant. Such 
particles were invented to unite and limit words, 
signifying things occasionally united in thought, but 
which have no natural union; also to show the relation 
between terms not only separable in idea, but really 
distinct in nature. These particles, therefore, separated 
from distinct terms are unmeaning.; hence the mind 
cannot bear a momentary pause which destroys the 
sense and is contrary to common mental action. 

It is questioned whether " to ", the sign of the Infinite 
Mood, is separable from its verb. We consider it a part 
of the verb and inseparable, except when lawfully omit- 
ted and when subject to poetic license. In such verbs 
as, cast up, shut down, march ou, etc., the added words may 
be regarded as a part of the verb and admit no pause 
between them and the verb. 

SUMMARY. 



We Can Pause. — 1st, Between the subject and its 
verb in the natural order: e. g. , 

The bell | rang out a merry peal. 
2nd. — Before and after the noun absolute: e. g. 

The general | having fallen | the army | retreated. 
3rd. — Before and after the vocative case; e. g. 

Tell me truly | mother | why | our landlord came. 



INFLECTIONS. 49 

4th. — Between a noun and adjective in the order of 
inversion : e. g. 

Jewels | costly and brilliant | shone in her ain 

5th. — Between a passive substantive and its verb in 
the order of inversion: e. g. 

No happier task | these strong hands perform. 
6th. — When the verb precedes the adverb: e. g. 

The river flows [ swiftly, smoothly on. 

7th. — Before and after adjuncts of cause, time, place, 
manner, etc. 

8th. — Before and after adversative conjunctions: e. g. 

Bowed to no idols | but | his money bags. 
9th. — Before and after antithetical, parenthetical and 
inverted words, clauses and members: e. g. 

Glows in the stars | and blossoms in the trees. 
Washington | as other men | had his faults. 
Not for their grief I the Grecian host | I blame. 

10th. — When climax is produced by repetition of 
terms: e. g. 

By foreign hands | thy dying eyes were closed. 
By foreign hands | thy decent limbs composed. 
By foreign hands | thy humble grave adorned, 
nth. — Before and after several conjunctions, as they 
indicate more than that, or for this reason, and still more 
frequently, ellipses which serve to beautify our language. 
1 2th. — Between the cognates b, p, d, t; g, k ; f , v 
and c. 

We add in general, suppose the connection admit a 
pause, it follows not, that a pause may, in every case, be 
admitted. We give one rule to which every other must 
bend: "The sense must never be obscured, nor sa- 



5o ^XELOCUTION AS AN ART. 

crificed to expression." Many terms that cannot bear 
separation in the natural order are separable in the 
rhetorical. 

We Cannot Pause. — ist, Between an adjective and 
substantive, when the former immediately precedes the 
latter; if several adjectives precede, we pause between 
each except the last: — 

The beautiful bird has flown. 

A calm | bright | warm day. 

2nd.— Between an adverb and a verb when the former 
immediately precedes the latter: as, 

Brightly glows the evening fire. 
3rd. — Between an active verb and its object when in- 
troduced without an adjunct', or, when the object is not 
emphatic. 

John I bought these books. 

4th. — Between a preposition and its object: 

With discontented air | the boy approached. 

5th. — Between a verb and subject, when the subject 
is inverted : 

Stole Helen | softly down the stair. 

INFLECTIONS. 

Inflection in Voice Culture means a rising of tone 
above that called the key-note \ or, a depression below the 
same. The key-note is the basis of modulation. How 
matter should be inflected is a subject on which Elocu- 
tionists disagree. Inflection is the exponent of emo- 
tion and dependent on its modes, yet it can be acquired 
by art. Delsarte calls it the language of sensitive nature. 

We shall treat here of the Rising, Falling and the 
Circumflex Inflections. 



inflections: 51 

We are all in some manner related to objects around 
us. This relationship is either positive or negative, 
We continually perceive objects which either give pleas- 
ure, or arouse displeasure — outside of these modes of 
mind objects act, and the mind perceives; but, it 
gives no attention — it is neutral: with these we shall not 
deal. 

Every train of thought that is pleasant to the mind, or 
that satisfies any exp ion raised therein, we term 
positive, and give it, when expressed in words, the 
Falling Inflection. 

Every train that is z/;zpleasant or that seeks informa- 
tion to satisfy expectancy, we term negative, and give 
it, when spoken, the Rising Inflection. 

Emotional, modifications of exclamitory and indirect 
interrogative clauses, members and sentences also sup- 
plication, prayer and petition take Rising Inflections. 

We remark, when one expresses approbation of any- 
thing, he or she speaks in a subdued tone and employs 
falling inflections; when one speaks of things which 
one disapproves, one uses rising inflections. 

A few homely examples shall prove this: 

Falling Inflection. — This child' is very pretty'; 

ccme' to me, my dear\ 
Rising Inflection.— Oh! you ugly' little thing'; go 

away' ! 

These two rules, though very simple, ramify through 
every branch of our language, and often assume forms 
so much unlike the originals, that unskilful students are 
scarcely able to recognize them ; but when passages, 
which contain them, are analyzed, they are as easily un- 
derstood as the examples above. 
- In our Grammars we have: " Every question that can 



5 2 ELOCUTION AS AN ART. 

be answered by yes or no, should have rising inflection; 
every reply, falling inflection." 

Illustration. — If we expect two persons, named 
Mary and Kate; one of them enters our room, from our 
position, we cannot see which one, we may ask: 

Question.- Is' that Kate'? 

Reply. — No\ it is Mary\ 

In the question we find rising inflection, not merely 
because the question can be answered byjr^s- or no, but 
because the mind of the questioner is in negative rela- 
tion to the object; that is, it is ignorant as to who enter- 
ed, consequently the rising inflection is employed. 

The reply, on acconnt of the positive form of thought 
it expresses, and the mind's full knowledge thereof, 
receives the falling inflection. 

We give a few instances of positive and negative. 
Students may indefinitely extend the list. 

Positive. Negative. 

Approbation. Disapprobation. 

Concord. Discord. 

Love. Hatred. 

Pleasant. Unpleasant. 

Praise, Dispraise. 

Please. Displease. 

Life. Death. 

Superior. Inferior, etc. etc. 

We may use a falling inflection at the close of a sen- 
tence, when we perceive the sense is complete, but let it 
be understood that this inflection must not interfere with 
the sense of the passage read, nor must the voice in any 
case become indistinct or inaudible; for, frequently, the 
principal thought is relegated to the final clause of a 
sentence, and by too great drop of voice becomes lo^tto 



INFLECTIONS. 53 

the hearers. At the close of a negative assertive sen- 
tence the voice should take the rising inflection; because 
something is always understood. 

Neg. Assert. — It is not' my fault': Implied: it is 
some one else's. 

Very often we shall meet a number of such sentences 
in succession, all depending on one final sentence; which 
sentence is of a positive nature. When this occurs, all 
negative clauses receive the upward slide, the closing 
affirmative, the downward : — 

Ex. — Ye' are not wood', ye' are not' stone', 

Ye v are men\ 
Ex. — Tis not the face', 'tis' not the form', 
'Tis not' the heart', however warm'; 
'Tis not' these', though all combined', 
That' win' true love' : It r is the mind\ 
These examples close with a positive affirmative sen- 
tence on which the sense of the foregoing negatives de- 
pends; this positive completes the thought and receives 
a falling inflection. 

The Circumflex Inflection is a combination of the 
rising and falling. The motion of the voice in this case 
glides almost imperceptibly from one to the other with 
variations of tone, pitch, stress and force, according 
to the strength of the emotion, humor or passion ex- 
pressed. 

Circumflexes give emphatic distinction to words which 
may be increased to any degree by the range we give 
the component slides. 

In styles expressive of gentle or strong enthusiasm, 
profound sentiment, reverence, awe, conscious dignity 
and power, also in those of raillery, irony, fun, humor 
and burlesque, circumflexes frequently take the places of 



54 ELOCUTION AS AN ART. 

simple inflections. They are among the finest graces 
of Elocution and should be well mastered by students. 
Circumflexes derive their leading significance from 
the last slide which is modified by the preceding, so that 
in a subtile way both are combined on one syllable or 
word. If we desire earnestness, gravity, reverence, force 
the last slide is falling; if raillery, uncertainty, inquiry, 
suspense, ridicule, we close with rising, e. g. : 

"I do not care for her** so much as for you *" N 

" You-* are all that is excellent'*' forsooth ! 

" Beauty,*' Herr Doctor, trust in me, 

" No chemistry* will win you; 

" Chans'* still rises from the sea; 

" If you*' can't find, mights it be, 

" Because you seek within* you?" — Lowell. 



CHAPTER XI. 



GESTURE. 

Gesture is the true interpreter of sentiment ; or a means 
employed to render emphatic, or more explicit some im- 
portant expression of thought. It is, writes Delsarte, 
"the immediate language of emotion or soul," is infini- 
tely varied and requires careful study. 

An easy disposition of I ody imparts much elegance 
and grace to speakers. Gesture is not pantomime, 
as some erroneously sUj pose: it springs from nature and 
when properly employed, leads to the natural expression 
of what had been artificially acquired. When an artist, 
through want of proficiency, renders gesture panto- 
mimic, he reduces it to a species of Calisthenic drill, 
wherein physical development is sought, rather than 



GESTURE. 55 

philosophical emphasizing of a formal act of the mind 
expressed in words. 

We practise gesture from the cradle to the grave. 
Nor are we conscious, often times that, we employ it as 
an aid to enforce the signification of our thoughts. 

The force of all gesture is drawn from analogy and 
not from resemblance, or imitation — such analogies em- 
phasize thought and feeling, but do not describe them. 

The Graces of gesture are Simplicity, Appropriate- 
ness, Smoothness and Variety ; every gesture should be 
made from the shoulder out, always in curves, freely 
energetically and precisely; simplicity and variety must 
proceed from one's own sincerity ; grace and elegance, 
from habit and taste. 

No single member is active while all the others remain 
in repose; if one hand clenches, the other does not re- 
main quiescent; if the face be stern and passionate, the 
whole frame shows energy; the emotion of the mind 
moves the members of the physical being simultaneous- 
ly — when the art of the spe.aker enables him to utilize 
this movement, the effect is the perfection of art, ren- 
dered subject to will and reproducing nature. This 
harmony between the action of the mind and that of the 
members is what we term Expression. 

The principles of gesture should be studied under a 
skilful master; written instructions are insufficient, they 
shall assist an earnest student, but they never can per- 
fect — perfection springs from the living model. 

Never alternate gestures in the same period. If the 
ideas be numerous and similar, the gestures should be 
few and striking; if dissimilar, the gestures should still 
be few, but dissimilar. By long practice, we acquire 
power to appear perfectly natural, easy and unlabored, 
without rule or apparent effort. 



56 ELOCUTION AS AN ART. 

Different styles of language require different styles of 
gesture; each gesture should have a sufficient reason for 
its being made. 

We must never drop a gesture until the period closes; 
but vary the movement in a suspensive manner. To 
succeed herein one must practise effects beforehand. 
The artist never improvises, everything is the result of 
pre-arrangement and forethought. The instantaneous 
agony, the joy that gushes forth involuntarily, the tone, 
gesture, look, — all, that pass for sudden inspiration are 
the results of long and earnest practice. Hence one, 
who expects to excel must observe, reflect and endeavor 
to reproduce the variations of emotion and passion 
which one perceives in human beings that come within 
one's observation. Skill lies in the excellence of imita- 
tive reality — skill is not nature, but art reproducing 
nature. 



CHAPTER XII. 



Spheres of Gesture. 



Gesture has three distinct spheres: the Upper ^ 
Middle^ and Lower. All gestures, whose field lies be- 
low the waist, are in the lower sphere and employed in 
the majority of cases to emphasize whatever belongs to 
the lower passions, whatever may degrade our nobler 
nature, and may tend to show the weaker portion of our 
animal nature. 

Gestures, moving horizontally, or, occupying the 
field between the waist and the head, are employed to 
enforce all ideas that are light, animated, didactic, 
scientific, philosophic — that tend to reasoning and de- 
monstration. 



SPHERES OE GESTURE. 57 

Gestures, that play in the field of the upper sphere, 
or what we term ascending, are used when dealing 
with ennobling, dignified, spiritual, philosophical and 
other subjects. 

These three spheres embrace all forms of oratorical 
and dramatic gesture that can be employed at the bar, 
in the pulpit, on the stage, in drama, and interpretation 
of prose or verse. 

The Arm, in emotional recitations, in respect to the 
frame, has three relative positions: the Forward, Lat- 
eral and Oblique ; the forward and lateral are at right 
angles to the frame, which may be regarded as the 
centre of the circle; the oblique at an angle of 45 de- 
grees. 

Each relative motion has three sub-motions, viz: the 

Descending - Forward, Horizontal -Forward, and 
Ascending-Forward, also the Descending-Oblique, 

etc. All other motionsare modifications of these, varied 
according to the character of the interpretor and the in- 
tensity of passion or emotion required by the subject 

The Hand is almost as expressive as language. It 
demands, promises, appeals, condemns, calls, dismisses, 
threatens, implores — expresses joy, sorrow, shame, re- 
sentment, etc. But as a rule, the hand supine, that is, 
extended with palm upwards, indicates positive forms of 
thought. The hand prone, the palm downwards, indi- 
cates negative forms, which if not absolutely negative, 
yet are relatively so — pay special attention to the natur- 
al opening of the hand and the curve of the wrist. 

The Chest. — There are , three chest attitudes, eccen- 
tric, concentric and normal. 

1. If the chest is greatly dilated, this is the eccen- 
tric case — the military attitude, the sign of energy. 

2. The normal, when the chest is in a natural state. 



s 



LOCUTION AS AN ART. 

3. The concentric, when the chest is hollow, with 
the shoulders elevated and inclining forward. 

The chest need not be lowered; it is here that all 
energy concentrates. 

The Shoulders. — Every sensitive, agreeable or 
painful form, says Delsarte, is expressed by an elevation 
of the shoulders. The shoulders are the thermometer 
of the sensitive and passional life. If a man's shoulders 
are raised very decidedly, we may know that he is de- 
cidedly impressed. 

The head tells us whether this impression is joyous or 
sorrowful. Then the species belongs to the head, and 
the genus to the shoulders. 

The face specifies the nature of the emotion, whose 
value the shoulders have determined. 

The shoulder is one of the great powers of the orator. 

By a simple movement of the shoulder, he can make 
infinitely more impression than with all the outward 
gestures which are almost always theatrical, and not of 
a convincing sort. 

Written laws for gesture are absurd and plates that 
illustrate the pose for certain emotions, laughable. 
Herein the living model alone can be of service. 

External Signs of Emotion. — External signs of 
emotion are, Voluntary and Involuntary. The vol- 
untary are of two kinds: 1st — Arbitrary; 2nd — 
Natural. 

Words are voluntary signs, and they are also arbitra- 
ry, except a few simple sounds, indicative of internal 
emotions which are the same in all languages; as, 
sudden exclamations of admiration, pity, resentment, 
despair. 

The second kind of voluntary signs are certain ges- 
tures, generally those that accompany certain emotions: 



SPHERES OF GESTURE. 59 

as, joy, elevation of the body, lightness; grief, depres- 
sion of body, slowness. These signs, when prompted 
by passion, can be restrained only with the utmost force 
of will. 

Involuntary signs are all natural; some peculiar to one 
passion, others common to many. Vivid emotions have 
more decided outward expression than those less vivid: 
thus, fear, intense joy, etc, have more facial expression 
than the mere experience of an ordinary anxiety or daily 
contentedness. 

Involuntary signs are two, Temporary and Lasting. 

The first appear on the countenance with the emotions 
that produce them, and pass with them, leaving no trace 
of their having existed; the second are formed gradually 
by the recurrence of some violent passion and gradually 
become permanent signs of that passion, and thus serve 
to denote disposition or temper. 

In external signs of passion, actions must receive spe- 
cial attention; for, though singly they afford no clear 
light, they are, when combined with facial expression, 
the best interpreters of heart, and are thus in the con- 
duct of life, the surest expression of internal disposition. 

It may be asked what effects are produced on specta- 
tors by these signs? We answer, very important and 
sympathetic effects! All tending to good and wise ends; 
and forming a capital branch in the study of human 
nature. 

External signs of joy produce cheerful emotion; 
external signs of grief, pity; of rage, terror; and so for 
the rest. External signs of painful emotions or passion 
are divided into Attractive and Repulsive. Of every 
painful passion that is also disagreeable, the external 
signs are repulsive, repelling the spectator; and the 
emotion raised by such signs must be also repulsive. 



60 ELOCUTION AS AN ART. 

Painful passions, that are agreeable, produce external 
signs that are attractive, drawing the spectator and pro- 
ducing in him benevolence to the person in whom these 
signs appear. 



CHAPTER XIII. 



THE HEAD AND FACIAL EXPRESSION. 



Want of simplicity is destructive to dignity. A look 
is frequently more eloquent than words. We are charm- 
ed, awed, incensed, softened, grieved, rejoiced, raised 
or dejected as we watch a speaker's facial expression. 
When a passion is lengthy in expression, stop and de- 
crease the power, then increase again to shade emphatic 
parts, the most awful idea of passion is conveyed by a 
forcible burst that gradually subsides to the utmost 
softness — this is natural, common even to the elements 
around us. Notice the coming and the going of storms, 
the condition of the atmosphere before and after. If 
you would excel imitate Nature, both animate and in- 
animate. When excited the face becomes a living pic- 
ture. Every emotion in the mind is designated by some 
external change of feature, wherein every impression 
anticipates the will and betrays the soul. The eye seems 
to be more intimate with the soul than any other fea- 
ture, it receives and transmits impressions more rapidly 
than others, has an eloquence unknown to the tongue 
and a power of appeal that super- edes all words in our 
language. The elevation and depression of the eye- 
brows are also impressive and of much service to the 
artist. 

Some Elocutionists divide the top and back of the 



THE HEAD AND FACIAL EXPRESSION. 61 

head into three zones; That above the forehead, mental; 
that on top, moral ; that at back, vital. 

The two movements of the head may be studied under 
two relations: as an agent of expression through its own 
movements in relation to its objects, and as the relative 
centre for hand and arm gestures. 

As an agent. — In its normal or natural condition, the 
head is neither high nor low. 

In reflection, tenderness, love, joy or grief, it is 
lowered. 

In vehemence, anger, disdain and love tempered with 
joy, it is raised and slightly thrown back. 

In veneration, confidence and love, it inclines oblique- 
ly towards its object. 

In doubt, fear, suspicion and disaffection, it inclines 
obliquely from its object and is slightly thrown back. 

All other positions of the head are modifications of 
these, elicited by passion, sentiment and character — 
never alike in any two human beings; and, seldom a 
second time alike in the same individual. This fact 
confirms our belief in the power of preserving person- 
ality. 

The face is also divided into three zones: the forehead 
and eye, mental; nose and cheek, moral; the mouth and 
chin, vital. Hence if in emotion the hand seeks the chin, 
vital instincts predominate; if the forehead, mental ; if 
the cheek, moral. 

The Eye. — As facial positions are always horizontal 
with those of the head, the position of the eye varies as 
that of the head. When the head is normal, or erect, 
the glance may be elevated, lowered or directly in front. 

If the head inclines to the right, the eye lowered 
or with descending oblique glance, may follow like 
movement, or with glance upward may move in opposite 



62 ELOCUTION AS AN ART. 

direction, that is ascending oblique; and so for left in- 
cline, but in reverse directions. 

The direct movement or glance may be taken as the 
centre of expression, whence all other movements start, 
or towards which they gravitate as their term. 

All expressions of the eye indicate the existing feel- 
ings of the soul and are subject to them, it expresses most 
lively sensations, tumultuous passions, delightful feel- 
ings and most delicate sentiments. It at once receives 
and reflects intelligence of thought and warmth of sensi- 
bility; it is the burning, flashing word-signal of the 
heart, that strikes , inflames and lights up whom it will. 

The Eyebrow. — As the eye is intimately connected 
with the soul, so the eyebrow is with the mind. Observe 
and you shall be convinced. It contracts, lowers, relaxes, 
elevates according to mental condition. It accompanies 
voice movement, tone and pitch, which are also expo- 
nents of mind and reason. 

Would we surprise, inspire awe, express admiration, 
confide, avow, — the brows elevate and the voice lowers. 

Would we threaten, scorn, reject, contemn, disdain, 
reproach, — the brows lower and contract; the voice be- 
comes intense, aspirate, guttural or loud, in proportion 
to intensity of character and passion. 

Would we express love, tenderness, pity, compassion, 
interest, etc., — the brows are normal or move slightly, 
the voice is sweetly low, or almost hushed, still propor- 
tionate to passion or sentiment. 

Flexibility of eyebrow may be acquired by practice. 

The Nose. — In serenity, calm description and indif- 
ference, the nostrils are in repose. 

In hate, insensibility, cruelty, the nostrils contract. 

In excitement, passion, sensibility, description of ac- 
tion, nostrils dilate. 



THE HEAD AND FACIAL EXPRESSION. 6 3 

Practise. — Dilate and contract nostrils: "Move no 
other portion of the face." 

The Mouth. — Whatever is in the mind is communi- 
cated to the mouth. How full of character it is! How- 
expressive even when silent! 

Many organs assist in the formation of speech, the 
mouth and lips give it finish, and combined with senti- 
ment reveal its value. Turn of lips and tone have more 
to do with the sense of propositions, than mere position 
of verbal terms; words pass us by, tones remain and 
sting. 

In irony, anger, pique, jealousy, bantering, the lips 
expand horizontally as when sounding the letter T. 

In tenderness, devotion, affection, pity, admiration 
and joy, the lips part slightly, but retain their normal 
position. 

In grief, disappointment, disgust, disdain, scorn, con- 
tempt, the lips are drawn together tightly and depressed 
at both corners. 

In contentment, pleasure, satisfaction, neutrality, the 
lips appear in normal condition. 

In violent passions, whether pleasant or unpleasant, 
they move in accordance with the force, intensity and 
nature of the passion. 

The face is the mirror of the soul, because of its 
power to receive and reflect impressions. It indexes not 
only momentary emotions and propensities, but also 
enables the observer to determine the habits and tem- 
perament of its possessor. He who would have beauty 
of face must acquire virtuous habits of soul. 



64 ELOCUTION AS AN ART. 

CHAPTER XIV. 



POINTS. 

The sense of discourse is not confined to words; it is 
partly in gesture and inflection. 

No author fully expresses his meaning in writing, 
hence interpreters may often be in error, since they 
know not the writers. 

Do not multiply gestures, this denotes lack of intelli- 
gence; we experience one sentiment at a time. One 
gesture suffices for an entire thought, as it is not the 
word but the thought which gesture emphasizes. 

The face is the index of the soul, its expression justi- 
fies gesture. Without facial expression all gesture 
becomes pantomime. 

If a thought requires two gestures, one should precede 
the proposition. 

Effects must not be multiplied, they belittle the grand. 

An interpreter identifies himself with the character he 
interprets. 

He who renders his word pictures most natural is the 
best artist. 

The suspension of a movement is a great source of 
effect. In it are force and interest. 

Rest upon the preceding gesture until a change in 
thought necessitates its change. 

You may vary facial expression and suspend a gesture: 
this is preparation for the coming gesture. 

The rhythm of gesture is proportioned to the mass to 
be moved. 

Gesture is expanded by sentiment and passion; con- 
tracted by thought and reflection; moderated by Jove 
and affection. 



POINTS. 65 

If you would excel in Elocution, observe, reflect, re- 
produce — afterwards create. "He," says an Arabian 
proverb, " is the best orator who can turn men's ears 
into eyes. " 

The Elocutionist must possess a delicate, swifc, certain 
and extensive power of observation — this we may call 
the soul of his art. To observe is to note distinctions: 
to be attentive, to fix the mind on a particular object for 
a given time; through these we analyze, distinguish and 
finally reproduce with effect proportionate to our talents. 

" Art proposes three things: to move, to interest, to 
persuade." To affect this it must conceal its own form 
and assume nature's. 

Useful Hints for Facial Expression and Pose, in 
Drama, Dialogue and other Interpretations. 

Tranquility. 

Body. — Composed. Eyebrows. — Arched. 

Fact-. — Open. Mouth. — Nearly Shut, 

Brow. — Smooth. Eyes. — Glance Quietly 

Voice. — Pure. about. 

Cheerfulness, almost the same movements, mouth 

smiling, intensified as the emotion increases to joy or 

delight. 

Affection. 

Face. — Serene. Brow. — Smooth. 

Mouth. — Slightly Open. Eyes. — Sparkling. 
Body. — In Repose. Voice. — Pure, Clear and 

Tender. 

Desire. 

Body. — Incline Forw'd. Face. — Bright, Earnest, 
R. Foot. — In Advance. Grace as Sentiment 

Hands. — According to Requires. 

Sentiment. Lips. — Slightly Parted. 



66 ELOCUTION AS AN ART. 

Voice. — Bright, Pure, Suppliant or High, Accord- 
ing to Sentiment, 

Grief or Sorrow. 

Countenance. — Deject'd. Arms. — Loose. 
Head. — Hung Low. Hands. — Opened or 

Lips. — Quiver. Clasped or Wrung. 

Eyes. — Down. Voice. — According to 

Strength of Passion. 

Pity. 

Voice. — Compassionate, Hands. — Prone or Supine 

Tender. According to Sentiment. 

Brows. — Contracted. Mouth. — Slightly Closed. 

Eyes. — Raised and Full. Countenance. — As if in 

Pain. 

Hope. 

Countenance. — Raised, Eyes. — Bright, Eager, 
Bright, Joyous. Wistful. 

Hands. — Open as if to Arms. — According to 
Clasp. Sentiment. 

Body. — Bent Forward. Head. — Raised. 

Voice. — Plaintive, Inclined to Eagerness. 

Courage and Confidence. 

Head. — Erect. Voice. — Firm, Even, Full, 

Countenance. — Open, Clear, Strong, Accents 

Clear. Round, Sometimes Ex- 
Chest. — Raised. plosive. 

Hands. — According to Body. — Graceful, Noble 

Sentiment. Mien. 

Pride and Self-Esteein. 

Head. — Thrown Back. Lips. — Contracted. 



POINTS. 67 

Eyes. — Full, Lofty. Voice. — Slow, Pompous 

Brows. — Somewhat in Tone, Important. 

Drawn. 

Hatred. 

Body. — Drawn Back to Mouth. — Expressive of 

Avoid. Disdain. 

Face. — Stern, Turned Voice. — Guttural, Low, 

Away. Loud, Harsh, Sar- 

Eyes. — Angry, Flash. castic, Ve h e m e n t 

Brows. — Frown, Con- Passion, Abrupt, ac- 

tract. cording to Variations 

of Passion. 

Fear and Terror. 

Body. — Strained, or Eyes. — Staring, Wild. 

Crouching, Shrinks, Mouth.— Open. 

Trembling, etc. Steps. — Furtive. 

Face.- — Pale, Haggard. Voice. — Aspirate, Low, 

Moves with Sentiment. 

Anger. 

Head. — Elevated. Body. — Agitated. 

Bearing. — Haughty. Hands. — Clenched. 
Eyes. — Flashing. Voice. — Strong, High, Low, 

Brows, — Contracted. Guttural, Aspirate, Ex- 

plosive — according to 
Degree of Anger. 
Other passions and emotions, as, Love, Jealousy, Re- 
venge, Reproach, Despair, Admiration, etc., possess in 
some degree the qualities mentioned for the emotions 
we have given. 

All that is flexible and smooth in voice, various in 
strength of intonation impressive in force, apt in facial 
expression and consonant in gesture, shall unite their 



68 ELOCUTION AS AN ART. 

energies for gracefulness, elegance and dignity in favor 
of students who give time and earnest labor to the 
art of Elocution. 

We leave the interpretation of the following poems 
and dialogues to the taste of the student. We give a 
brief definition of voice-qualities, to be more fully ex- 
plained in Part II. 

Pure Tone is that employed in ordinary conversation 
and in unimpassioned matter; as, descriptive narrative, 
tender, pathetic and sad. 

Orotund, a tone resembling that which one uses after 
a great yawn, deep, full and round. It is employed to 
interpret the grand, vast, sublime. 

Low pitch, aspirate voice and stress to suit emotion, 
are used for love, awe, admiration and surprise. 

The stresses in the following pieces, we limit to the 
radical and vanishing: the first may be either explosive or 
expulsive and falls on the initial word of phrase member 
or sentence. 

The second resembles the musical diminuendo, the 
voice gradually decreasing from the opening to the 
closing of the sentence. 

A student who has carefully pursued our course of 
instruction to this point and who is alive to the require- 
ments of interpretation, shall easily master the follow- 
ing poems and dialogues, designed by the writer as an 
aid to voice culture. 

Let her also practise the Harmonies of Pose — they 
shall increase her ease of bearing; they and the dialo- 
gues form a pleasant distraction for earnest and active 
students. 



SELECTIONS. 69 

THE SCULPTOR BOY. 



Pure tone — slow time — moderate pitch — smooth median and 
dim. stress. 

< > 

Chisel in hand-stood a sculptor boy 

With his marble block, before him, 
And his face lit up, with a smile of joy 

As an angel dream passed o'er him. 
He carved that dream on the yielding stone 

With many a sharp incision; 
In Heaven s own light, the sculptor shone — 

He had caught — that angel vision. 

Sculptors" of life~ are we", as we stand 

With our lives uncarved x , before us, 
Waiting the hour, when, at God's command 

Our life-dream passes o'er us. 
Let us carve it then, on the yielding stone 

With many a sharp incision; 
Its heavenly beauty, shall be our own — 

Our lives — that angel' vision. 



THE BURIAL OF MOSES. 



" And he buried him in a valley in the land of Moab, 
over against Beth-peor,but no man knoweth of his sepul- 
chre to this day." — Deut. xxxiv: 6. 

By JVebo's lonely mountain, 

On this side Jordan's wave, 
Iii a vale in the land of Moab, 

There lies a lonely grave; 



7o ELOCUTION AS AN ART. 

But no man dug that sepulchre 

And no man saw it e'er, 
For the angels of god upturned the sod, 

And laid the dead man there. 

That was the grandest funeral 

That ever passed on earth; 
But no man heard the tramping, 

Or saw the train go forth ; 
Noiselessly as the daylight 

Comes when the night is done, 
And the crimson streak, on ocean's cheek 

Grows into the great sun, — 

Noiselessly as the spring time 

Her crown of verdure weaves, 
And all the trees on all the hill 

Open their thousand leaves, — 
So, without sound of music 

Or voice of them that w T ept, 
Silently down from the mountain crown 

The great procession swept. 

Perchance the bald old eagle, 

On gray Beth-peor's height, 
Out of his rocky eyrie, 

Looked on the wondrous sight ; 
Perchance the lion, stalking, 

Still shuns the hallowed spot ; 
For beast and bird have seen and heard 

That which man knoweth not. 

We know when warrior dietli 

His comrades in the war. 
With arms reversed and muffled drum' 



SELECTIONS 71 

Follow the funeral car. 
They show the banners taken, 

They tell his battles won, 
And, after him. lead his masterless steed, 

While peals the minute gun. 

Amid the noblest^ of the land 

Men lay the sage to rest, 
And give the bard' an honored place, 

With costly marble dressed, 
In the great minster transept 

Where lights like glories fall, 
And the sweet choir sings, and the organ rings 

Along the emblazoned wall. 

This was the bravesf warrior^ 

That ever buckled sword; 
This the most gifted poet v 

That ever breathed a word; 
And never earth's philosopher 

Traced, with his golden pen, 
On the deathless page, truths half so sage 

As he wrote down for men. 

And had he not high honor? — 

The hillside for his pall \ 
To lie in state while angels wait 

With stars for tapers tall ; 
And the dark rock pines, like tossing plumes, 

Over his bier to wave ; 
And God's own hand in that lonely land, 

To lay him in the grave, — 

In that deep grave, without a name, 
Whence, his uncoffined clay 



72 ELOCUTION AS AN ART. 

Shall break again — O wondrous thought!- 

Before the judgment day, 
And stand, with glory wrapped around ^ 

On the hills he never trod, 
And, speak of the strife that won our life. 

With the incarnate Son of God. 

O lonely tomb in Moab's land ! 

O dark Beth-peor,s hill! 
Speak to these curious hearts of ours, 

And teach them to be still. — 
God hath his mysteries of grace, 

Ways that we cannot tell: 
He hides them deep, like the secret sleep 

Of him — he loved so well. 

— Mrs. Alexander. 



THE LOST CHORD. 



Pure tone — sloiv time — moderate pitch — smooth median and 
dim. stress. 
Seated, one day, at the organ, 

I was weary, and, -ill at ease, 
And my fingers wandered idly 
Over the noisy keys\ 

I do not know . what 1 I was playing. 
Or what I was dreaming" then ; 

But — I struck* one chord* of music* 
Like the sound K of a great amen/ 

It flooded the crimson twilight 

Like the close of an angel's palm, 

And it lay, on my fevered spirit. 
With a touch, of infinite calm. 



SELECTIONS 73 

It quieted pain and sorrow* 

Like love' overcoming' strife — 
It seemed the harmonious echo 

Of our discordant' life. 

It linked all perplexed' meanings 

Into one perfect" J>eace\ 
And trembled away into silence" 

As if it were loth to cease. 

I have sought, — but — I seek it vainly 

That one lost chord divine" 
That came from the souV of the organ 

And entered into mine. 

It may be that Death's* bright angeP 

Will speak in that chord again, 
It may-be- that-only-//* Heaven 

I shall hear — that great a/nen\ 

— Adelaide A. Proctor. 



THE RELIEF OF LUCKNOW. 



Oh, that last day in Lucknow fort! 

We hiew that it was the last; 
That the enemy's lines crept surely on, 

And the end was coming fast. 

To yield to that foe meant worse than death, 
And the men and we all worked on; 

It was one day more of smoke and roar, 
And then, it would all be done. 



BLOC 



74 ELOCUTION AS AN ART, 

There was one of us, a corporal's wife, 

A fair, young, gentle thing, 
Wasted with fever in the siege, 

And her mind was wandering. 

She lay on the ground, in her Scottish plaid, 
And I took her head on my knee; 

"When my father comes hame frae the 
pleugh." she said, 
" O, then please wauken me." 

She slept, like a child on her father's floor 
In the flicking of woodbine shade, 

When the house-dog sprawls by the open door, 
And the mother's wheel is stayed. 

It was smoke and roar and powder-stench. 

And hopeless waiting for death; 
And the soldier's wife, like a full-tired child, 

Seemed scarce to draw her breath. 

I sank to sleep, and, I had a dream 

Of an English village lane, 
And wall and garden; but one wild scream 

Brought me back to war again. 

There, Jesse Brown stood, listening, 
'Till, a sudden gladness broke 

All over her face; and she caught my hand 
And drew me near as she spoke: 

"The Highlanders! O, din ?ia ye hear 

The slogan far awa'? 
The McGregor's; O! I kenitweel; 

It's the grandest o' them a/ 

"God bless the bonny Highlanders! 

We're saved ! we're saved! " she cried 



SELECTIONS. 75 

And fell on her knees, and thanks to God 
Flowed forth like a full flood-tide. 

Along the Battery-line het cry 

Had fallen among the men, 
And they started back ; — they were there to die; 

But, was life so near them, then? 

They listened for life — the rattling fire 

Far off, and the far off roar^ 
Were all, and the colonel shook his head, 

And they turned to their guns once more. 

But Jesse said: "The slogan's done; • 

But, winna ye hear it noo; 
The Campbells are comiri 7 it's no a dream: 
Our succors hae broken through! " 

We heard the roar and the rattle afar, 

But the pipes we could not hear; 
So, the men plied their work of hopeless war, 

And knew that the end was near. 

It was not long ere it made its way — 

A thrilling, ceaseless sound; 
It was no noise from the strife afar, 

Or the sappers under ground. 

It was the pipes of the Highlanders! 

And now they played "Auld Lang Syne" 
It came to our men, like the voice of God, 

And they shouted along the line. 

And they wept, and they shook one another's 
hands, 

And the women sobbed in a crowd ; 
And every one knelt down where he stood, 

And we all thanked God aloud. 



76 ELOCUTION AS AN ART. 

That happy time, when we welcomed them. 

Our men put Jesse first; 
And the general gave her his hand, and cheers 

Like a storm from the soldiers burst. 

And the pipers' ribbons and tartan streamed, 
Marching round and round our line, 

And our joyful cheers were broken with tears, 
As the pipers played "Auld Lang Syne.'" 

— Robert Lmvell. 



DISCIPLINE. 



I 

A block of marble caught the glance of Buonarotti's eye, 
Which brightened in its solemn deeps like meteor lighted sky, 
And one who stood beside him listened smiling, as he heard, 
"Yes — I will make an angel of it" — was the sculptor's word. 

II 
So mallet soon and chisel sharp the stubborn block assailed 
And blow by blow and pang by pang the prisoner unveiled. 
A brow was lifted, high and pure, the -waking eyes outshone; 
And as the master deftly wrought a smile broke through the stone. 

Ill 
Beneath the chisel's edge, the hair, escaped in floating rings; 
And plume by plume, was slowly freed the sweep of half furled icings 
The stately bust and graceful limbs their marble fetters shed 
And where the shapeless block had been an angel stood instead, 

IV 
O blows that smite! O hurts that pierce this shrinking heart of mine! 
X\\\aXare ye but the Master's tools, forming a work divine. 
O! hope that crumbles at my feet! O joys that mock and fly! 
What are j<?, but the clogs that hold my spirit from the sky. 
Sculptor of Souls! I lift to Thee encumbered heart and hand; 
Spare not the chisel; set me free, however dear the bands. 



SELECTIONS. 77 

THE GLOVE AND THE LIONS. 



King Francis-was a hearty king, and-loved a royal sporty 

And-one day-a,s his lions strove-sat looking on the court; 

The nobles fill'd the benches round, the ladies by their side, 

And 'mongst them, Count de Lorge, with one he hoped to make his 

bride; 
And truly 'twas a gallant thing, to see that crowning show, 
Valour and love, and a king above, and the royal beasts below. 

Ramped and roared the lions, with horrid laughing jaws; 

They bit, they glared, gave blows like beams, a zvindzvent with their 

paws; 
With wollowing might and stifled roar they rolled one on another, 
Till-all the pit, with sand and mane, was in a thund'rous smother 
The bloody foam, above the bars, came whizzing through the air; 
Said Francis then, " Faith, gentlemen ! we're better here than 

there! " 

De Lorge's love o'erheard the king, a beauteous lively dame, 

With smiling lips, and sharp bright eyes, which always seem'd the 

same: 
She thought, "The Count, my lover, is as brave as brave can be; 
He surely would do dfcyperate things to show his love of me! 
King, ladies, lovers, all look on: the chance is wondrous fine; 
I'ft-drop my glove, to prove his love; great glory shall be ??iine! " 

She dropp'd her glove to prove his love: then looked on him and 

smiled; 
He bowed-and-in a moment-leaped among the lions wild; 
The leap was quick, return was quick he soon regained his place; 
Then-threzv the glove, but not with love, right in the lady's face! 
"Bravo!" cried Francis, "rightly done/" and he rose from where he sat; 
"No love," quoth he, "but vanity sets love a task like that! " 

— Leigh Hunt. 



THE BATTLE OF IVRY. 



Now, glory to the Lord of Hosts! from whom all glories are, 
And glory to our sovereign liege, King Henry of Navarre! 
Now-let there be the merry sound of music and of dance, 



78 ELOCUTION AS AN ART. 

Through thy cornfields green, and sunny vales, O pleasant land of 

France! 
And thou Rochelle, our own Rochelle, proud city of the waters, 
Again, let rapture light the eyes of all thy mourning daughters; 
As thou wert constant, in our ills, be joyous, in our joy; 
For cold-and stiff-and still, are they, who wrought thy walls annoy. 
Hurrah! Hurrah! a single field hath turned the chance of war! 
Hurrah! Hurrah! f or Ivry, and Henry of Navarre. 

Oh! how our hearts were beating, when, at the dawn of day, 
We saw the army of the League, drawn out in long array; 
With all its priest-led citizens, and all its rebel peers 
And Appenzel's stout infaiitry, and Egmont's Flemish spears! 
There, rode the brood of false Lorraine, the CURSES of our land; 
And dark Mayenne was in the midst, a truncheon in his hand; 
And-as we looked on them-we thought of Seine's empurpled flood; 
And good Coligny's hoary hair all dabbled with his blood, 
And we cried unto the living God, who rules the fate of war, 
To fight for His own holy name, and Henry of Navarre. 

The King is come to marshal us, in all his armor dressed; 
And-he has bound a snow-white plume, upon his gallant crest. 
He looked upon his people, and a tear was in his eye; 
He looked upon the traitors, and his glance was stern and high 
~R\ghi graciously he smiled on us, as rolled from wing to wing, 
Down all our line, a deafening shout, "God save our lord, the 

King!" 
"And if my standard-bearer fall — as tall full well he may, — 
For never saw I promise yet of such a bloody fray, — 
Press-where ye see my white plume shine, amid the ranks of war 
And be your oriflamme to-day the helmet of Navarre." 

Hurrah! the foes are moving! Hark to the mingled din 

Of fife, and steed, and trump, and drum, and roaring culverin! 

The fiery Duke is pricking fast across Saint Andre's plain, 

With all the hireling chivalry of Guelders and Almayne. 

Now, by the lips of those ye love, fair gentlemen of France, 

Charge for the golden lilies, — upon them with the lance! 

A thousand spurs are striking deep, a thousand spears in rest, 

A thousand knights are pressing close behind the snow-white crest; 

And in they burst, and on they rushed, while, like a guiding star. 

Amidst the thickest carnage, blaced-the helmet of Navarre. 



SELECTIONS. 79 

Now-6W be praised-the day is ours! Mayenne hath turned his rein, 
D'Aumale has cried for quarter — the Flemish Count is slain; 
Their ranks are breaking, like thin clouds before a Biscay gale; 
The field is heaped with bleeding steeds, and flags, and cloven mail. 
And then-we thought on vengeance, and, all along our van, 
"Remember St. Bartholomew!" was passed from man to man; 
But out spake gentle Henry, — "No Frenchman is my foe: 
Down, DowN-with every foreigner, but let your brethern go." — 
Oh, was there ever such a knight, in friendship or in war. 
As our sovereign lord, King Henry, the Soldier of Navarre? 

Right -well fought all the Frenchmen who fought for France to-day; 

And many a lordly banner, God gave them, for a prey. 

'BwX.-we of the religion have borne us best in fight; 

And the good Lord of Rosny hath ta'en the cornet white — 

Our own true Maximilian the cornet white hath ta'en, 

The cornet white with crosses black, the flag of false Lorraine. 

Up with it, high; unfurl it, wide — that all the host may know 

How God hath humbled the proud house which wrought his Church 

such woe. 
Then-on the ground, while trumpets sound their loudest point of 

war, 
Fling the red shred,-a foot-cloth meet for Henry of Navarre. 

Ho maidens of Vienna \ Ho matrons of Lucerne \ — 

Weep, weep and rend your hair for those who never shall return \ 

Ho Philip ! send, for charity, thy Mexican pistoles, 

That Antwerp monks may sing a Mass for thy poor spearmen's souls. 

Ho gallant nobles of the League ! look that your arms be bright ! 

Ho burghers of St. Genevieve ] keep watch and ward to-night ! 

For our God hath crushed the tyrant, our God hath raised the slave 

And mocked the counsel of the wise, and the valor of the brave. 

Then glory to His holy name from whom all glories are ! 

And glory to our sovereign lord, King Henry of Navarre ! 

—MACAULEY. 



8o ELOCUTION AS AN ART. 

THE SKYLARK. 



Bird of the wilderness, blithesome and cumberless, 
sweet be thy matin o'er moorland and lea; emblem of 
happiness, blest is thy dwelling-place — oh, to abide in 
the desert with thee! Wild is thy lay, and loud, far in 
the downy cloud; love gives it energ3% love gave it birth. 
Where, on the dewy wing, — where art thou journeying? 
thy lay is in heaven, thy love is on earth. O'er fell and 
fountain sheen, o'er muir and mountain green, o'er the 
red streamer that heralds the day, over the cloudlet dim, 
over the rainbow's rim, musical cherub, soar singing 
away! Then, when the gloaming comes, low in the 
heather-blooms, sweet will thy welcome and bed of love 
be! Emblem of happiness, blest is thy dwelling-place 
— oh, to abide in the desert with thee! 

—James Hogg. 



THE PATRIOT'S SONG. 



Breathes there a man, with soul so dead, who never 
to himself hath said: This is my own, my native land ! 
whose heart hath ne'er within him burned, as home his 
footsteps he hath turned from wandering on a foreign 
strand? If such there breathe, go — mark him well; for 
him, no minstrel-raptures swell: high though his titles, 
proud his name, boundless his wealth, as wish can 
claim; despite those titles, power and pelf, living shall 
forfeit fair renown, and, doubly dying, shall go down to 
the vile dust whence he sprung, unwept, unhonored and 
unsung! 

-SCOTT 



SELECTIONS, 81 

WAITING FOR THE MAY. 



Ah! my heart is weary waiting for the May — waiting 
for the pleasant rambles, where the fragrant hawthorn- 
brambles, with the woodbine alternating, scent the dewy 
way. Ah! my heart is weary waiting, waiting for the May! 

Ah! my heart is sick with longing, longing for the 
May — longing to escape from study to the fair young 
face and ruddy, and the thousand charms belonging to 
the summer's day. Ah! my heart is sick, with longing, 
longing for the May! 

Ah! my heart is sore with sighing, sighing for the 
May — -sighing for their sure returning when the summer- 
beams are burning, hopes and flowers that dead or dy- 
ing all the winter lay. Ah ! my heart is sore, with 
sighing, sighing for the May! 

Ah! my heart is pained with throbbing, throbbing for 
the May, throbbing for the seaside billows, or the water- 
wooing willows, where in laughing and in sobbing glide 
the streams away. Ah! my heart is pained, with throb- 
bing, throbbing for the May! 

Waiting, sad, dejected, weary, waiting for the May: — 
Spring goes by with wasted warnings — moonlit even- 
ings,sunbright mornings: — summer comes, yet, dark and 
dreary, life still ebbs away — Man is ever weary, weary, 
waiting for the May! 

— D. F. MCARTHY. 



:o: 



THE JACKDAW. 



There is a bird, that, by his coat, and by the hoarse- 
ness of his note, might be supposed a crow; a great 
frequenter of the church, — where, bishop-like, he finds 
a perch, and dormitory too. Above the steeple shines a 



82 ELOCUTION AS AN ART. 

plate that turns and turns, to indicate from what point 
blows the weather; look up — your brains begin to 
Swim; 'tis in the clouds — that pleases him; he chooses it 
the rather. Fond of the speculative heights, thither he 
wings his airy flight; and thence securely sees the bustle 
and the raree-show that occupy mankind below — se- 
cure, and at his ease. You think, no doubt, he sits and 
muses on future broken bones and bruises, if he should 
chance to fall: no, not a single thought like that employs 
his philosophic pate, or troubles it at all. He sees that 
this great round-about, the world, with all its motley 
rout, church, army, physic, law, its customs and its 
business, are no concern at all of his; and says — what 
says he? — "Caw!". . . .Thrice happy bird! I, too, have 
seen much of the vanities of men ; and, sick of having 
seen them, would cheerfully these limbs resign, tor such 
a pair of wings as thine, and — such a head between 
them ! 

— William Cowper. 

:o: 

FREEDOM. 



Men! whose boast it is that ye come of fathers brave 
and free, if there breathe on earth a slave, are ye truly 
free and brave? If ye do not feel the chain, when it 
works a brother's pain, are ye not base slaves indeed, — 
slaves unworthy to be freed? — Is true freedom but to 
break fetters for our own dear sake? and, with callous 
hearts, forget that we owe mankind a debt? No! true 
Freedom is, to share all the chains our brothers wear, 
and, with heart and hand, to be earnest to make others 
free ! — They are slaves who fear to speak for the fallen 
and the weak; they are slaves who will not choose ha- 
tred, scoffing, and abuse, rather than in silence shrink 



SELECTIONS. 83 

from the truth they needs must think! They are slaves 
who will not dare all wrongs to right, all rights to 
share! 

— Robert Lowell. 



CRESCENTIUS. 



I looked upon his brow; — no sign of guilt or fear was 
there; he stood as proud by that death-shrine, as even 
o'er despair he had a power; in his eye there was a 
quenchless energy — a spirit, that could dare the dead- 
liest form that death could take, and dare it for the 
daring's sake. He stood, the fetters on his hand — he 
raised them haughtily; and had that grasp been on the 
brand, it could not wave on high with freer pride than 
it waved now. Around he looked, with changeless 
brow, on many a torture nigh — the rack, the chain, the 
axe, the wheel, and, worst of all, his own red steel! I 
saw him once before; he rode upon a coal-black steed, 
and tens of thousands thronged the road, and bade their 
warrior speed. His helm, his breast-plate, were of 
gold, and graved with many a dent, that told of many a 
soldier's deed; the sun shone on his sparkling mail, and 
danced his snow-plume in the gale. But now he stood 
chained and alone; the headsman by his side: the plume, 
the helm, the charger, gone; the sword that had defied 
the mightiest, lay broken near; and yet no sign or sound 
of fear from that lip of pride; and never king or con- 
queror's brow wore higher look, than his did now. He 
bent beneath the headman's stroke with an uncovered 
eye; a wild shout from the numbers broke, that thronged 
to see him die. It was a people's loud acclaim, the voice 
of anger and of shame — a nation's funeral cry;— Rome's 
wail over her only son, her patriot — and her latest one! 
— L, E. L. {Mrs. Maclean.) 



84 ELOCUTION AS AN ART. 

COLUMBUS. 



Behind him lay the gray Azores, 

Behind the gates of Hercules: 
Before him not the ghost of shores, 

Before him only shoreless seas. 
The good mate said: "Now must we pray, 

For lo! the very stars are gone. 
Brave Adm'ral, speak; what must I say ?" 

"Why say, 'Sail on, and on.' " 

"My men grow mutinous day by day: 

My men grow ghastly wan and weak." 
The stout mate thought of home; a spray 

Of salt wave washed his swarthy cheek. 
"What shall I say, brave Adm'rl, say, 

If we sight not but seas at dawn? " 
"Why, you shall say at the break of day, 

'Sail on, sail on, sail on, and on.' " 

They sailed and sailed, as wind might blow, 

Until at last the blanched mate said : 
"Why, now not even God would know 

Should I and all my men fall dead 
These very winds forget their way, 

For God from these dead seas is gone; 
Now speak, brave Adm'ral ; speak and say. 

He said: "Sail on, sail on, and on." 

They sailed. They sailed. Then spoke the mate 
"This mad sea shows its teeth to-night. 

He curls his lip, he lies in wait, 
With lifted teeth, as if to bite; 

Brave Adm'ral, say but one good word. 



SELECTIONS. 85 

What shall we do when hope is gone? " 
The words leapt as a leaping sword : 
"Sail on, sail on, sail on, and on." 

Then, pale and worn, he kept his deck, 

And peered through darkness. Ah, that night 

Of all dark nights. And then a speck — 
Alight: alight: alight: alight: 

It grew: a starlit flag unfurled : 

It grew to be time's burst of dawn. 

He gained a world; he gave that world 

Its greatest lesson, "On and on." 

— Joachim Miller. 



:o: 



CHRISTOPHER COLUMBUS. 



INVOCATION. 

Oh, Thou whose way is on the sea, 

Make known to me 

The path Thy dread archangels keep 

Across the awful deep! 

Flash o'er the shadowy main, 

Light from those stars that wane, 

Beyond our welkin's space; 

That I, a man, may trace, 

Upon adoring knees, 

God's highway o'er mysterious seas. 

VOYAGE. 

Christ, on these shoulders rest. 
While I the billows breast; 
My only care 

Christ and His truth to bear 
To shores unknown; 



86 ELOCUTION AS AN ART. 

Where God is not; 
In His own works forgot! 
Queen, on thy starry throne, 
Cheer, with thine eyes benign, 
This lonely quest of mine! 

LANDING, 

Glory to God on high! 
Thine be the praise 
Through length of days! 
Fly, royal banner, fly! 
Christ to His own is nigh ; 
For on this flowery strand 
The cross doth now stand! 
Sovereigns of mighty Spain, 
Joy to your reign ! 
Castile's most gracious Queen. 
Await serene, 

Thy future's double crown 
Of just renown ! 

DEATH. 

Hush! o'er that bed of death, 
Swayed by the failing breath, 
A clank of chains! 
"Peace to the noble dead ! " 
With tears, by men is said; 
While angels sigh: "God reigns. 

FOURTH CENTENARY. 

To day what paeans sound 
The glad earth round! 
•'Columbo! " chime the bells; 
Each breeze "Columbo" swells; 



SELECTIONS. 87 

O'er land, o'er sea, 
One burst of melody — 
"A New World found." 

—Eliza Allen Star. 



THE WORLD-GIVER. 



All genius is light that comes from God. 
Its glory is His glory, — His its calm 
That broods in silence until high its palm 

Of victory it raises, — though His rod 

Fall heavy, it rises at His nod, 

And He who made it fills it with the balm 
Of His own sweetness; and its loving psalm 

Rings glorious above the mouldering sod: 

All men are kindred joined by genius thus, 

All men are bound, Columbus, by your deed 
That draws them nearer, though an ocean rolls 

Between our lives and theirs; — a part of us 
Are all great acts, — they answer to the need 
Of mortal hearts and immortal souls! 

God sent three men, true, patient and serene, 

Who found new worlds through tribulations sore — 
One, earliest, for all a new cross bore 

And taught his race what Christian love can mean; 

He found a world new, glowing, fresh and green, 
Where avarice and pride had dwelt before, 

And the vile monsters chased he from the^dcor 

Of God's own temple; so the light was seen: 

This was St. Francis, in Assisi born, 

Who gave the world a world of charity, 

Who found the poor hid by the lust of gain, 



88 ELOCUTION AS AN ART. 

And covered with the pall of deadly scorn; — ■■ 
He tore it off, and in its verity 
Showed this new world fed by Love's gentle rain. 

Another epoch, and another man, 

To change the world by giving it a world, — 
A Titan he! whose very locks seemed curled 
By breath of flame, whose thoughts tumultuous ran — 
Nay, leaped like fire into the glowing van 

Of human progress; and he, chanting, hurled 
Himself to farthest Hell, the Cross unfurled 
Upon the flag he bore where no man can : 
And this was Dante: world of peace and fire, 
Wide and sublime, he opened to our eyes; 
Precursor of Columbus in the faith 
That gilds no thing with flash of mere desire, 
But makes our acts as flames that Godward rise, 
"By Him made pure, "as word of Scripture saith. 

St. Francis lived by love, and he loved well; 
And full of faith great Dante held his heart 
Torn by dire tortures, bitter was his part; 
Then there came one, but not to look on Hell 
And freeze mankind with horror; — in a shell, 
A speck on ocean did Columbus start, 
To save Christ's Sepulchre, not to give mart 
For grasping men, or in earth's joys to dwell: 
O great Columbus! as the world you gave. 
And as your Hope must our hope ever be. 

As great our thoughts, not soiled by sordid lust ; 
Your Faith and Hope our caravels can save! 

Come gloom or storm upon our country's sea: — 
The cross of safety shines above your dust! 

— Maurice Francis Egan, LL. D. 



DIALOGUE. 89 

DIALOGUE. 
CHAPTER XVI. 



Dialogue comes from the Latin, dialogus and signifies 
a discourse, or interchange of thought between two per- 
sons. 

We often introduce three or more persons and still 
preserve the title, probably, because only one at a time 
addresses a number of hearers, any of whom may in 
turn, become First and Second person. 

A general knowledge of passion cannot enable an 
artist to justly portray any particular passion. He must 
study its effects in various persons, for characters and 
circumstances of time, place, and manner, affect pas- 
sions; and, as various as are human characters, so va- 
rious are the manifestations of passion; hence the pithy 
rule for drama, epic and dialogue: "Adjust passion to 
character; sentiment to passion, and language to senti- 
ment." 

If nature be not reproduced in drama or dialogue, the 
deficiency is instantly perceived. Kings and peasants, 
when subject to passion, show the same involuntary 
signs, and they may often employ like expressions, evolv- 
ed by human kinship which, to the student, are as inter- 
esting in the second as in the first. 

The true artist has an eye to detail: he is not satisfied 
with a knowledge of the great differences of passion and 
sentiment; as, those between strong and weak, elevated 
and humble, severe and gay; these may produce a fine 
picture, but for want of minor delicacies, it shall lack 
expression. To gain this an artist seeks the key of pas- 
sion — strikes his note and attunes his sentiments. To 
produce such harmony, requires extreme delicacy of 



9 o ELOCUTION AS AN ART. 

taste and uncommon power of genius. The speaker or 
writer must forget himself and assume the character and 
passion of the person represented. 

The interpretation of passion is much easier than the 
delineation of character, because the tones and shades 
of the latter are more delicate and obscure than those of 
the former. This shows how nice the interpretation of 
dialogue is, and how much thought, taste and judgment 
it requires for its perfection. 

It must be real in expression — sympathy is not excited 
by description but by fact. 

As gesture emphasizes emotion, its inflection, time, 
rhythm, duration, suspension and harmony must flow 
from subject-matter. 

Inflection here signifies the various forms which a sin- 
gle gesture may assume, to express the same sentiment: 
e. g. , Let me think. One may place the fingers on the 
temple, lower head and bend torso (trunk) slightly tor- 
ward ; another may place right index on chin, elbow 
resting on left forearm, crossed at waist, head oblique 
and gaze into space, or lower head, contract brows and 
fix gaze on the ground ; a third may interlace fingers, 
contrart brows and with half closed eyes look intently 
into distance; a fourth may cross arms on chest, throw 
head back, contract brows and fix gaze on some object, 
close by or in distance, each is right, because each is 
characteristic. 

Time refers to slow or rapid movement; rhythm to 
grouping of members,— both must be guided by subject- 
matter; from them spring duration and suspension. 

Duration is the length of time a gesture may be sus- 
tained with grace and elegance; suspension the sustain- 
ing of same until change of sentiment permits change of 
gesture. 



DIALOGUE. 91 

Harmony is the result of the simultaneous correspond- 
ence of gesture, tone and voice. Gesture born of senti- 
ment, some aver, should precede the word; we believe 
— facial expression excluded — it is nascent with the word. 

If one person give a dialogue, Inat person must own a 
good degree of voice-flexibility and have at command an 
extensive range of gesture. At the outset she chooses 
her positions — gives her introduction, if any, facing her 
audience, in pure tone, moderate pitch and movement. 
When personation is required, she turns to right or left, 
(optional) changes tone to suit her character ; for second 
speaker, she turns opposite, from first, as speakers nat- 
urally face each other, and assumes tone, pitch, pose and 
gesture, etc., to suit second speaker — being careful to 
attend to facial expression, force and stress, together 
with any minor qualities that distinguish her speakers. 
All explanatory matter must be rendered in the inter- 
preter's natural voice — face to auditory. 

When two or more take part in dialogue, the work, 
though not light, is simplified and the modes of expression 
gesture and harmony guided by each one's character; 
and interpreted according to her mental ability. Written 
instructions and plates in such cases are useless, they 
change sentient beings into machines, rob them of the 
intrinsic powers of will and judgment and subject them 
to extrinsic physical force — which can never animate, 
enliven or create. 

Gesture is the direct exponent of sentiment, produced 
on the spur of the moment' — powerful because of its 
source — enlivened by heart and going home to hearts. 
How can one, who writes, fore-know or define with what 
sentiments her work may be received. The poems 
given in this treatise may awaken the sympathies of some 
students while they excite the disgust of others: in the 



92 ELOCUTION AS AN ART. 

morning one class may read them with pleasure; in the 
evening, the same class may find them unbearable — so 
much for human minds and human sensibilities! 

Each student works up his own formula of expression, 
and through this judges all other formulae, they may 
be different, but they all seek the same goal, perfection 
in art, which, says Delsarte, "is anxious to move, inter- 
est and persuade:" emotion is expressed by voice-tones; 
interest is excited by choice and use of words; per- 
suasion is affected by gesture. 

The essentials in the interpretation of any artistic work 
are spontaneity, sincerity and individuality; these stamp 
ability and lead to success. Study systems, master 
rules — but never sacrifice your individuality to dead 
letter instructions. Heart speaks to heart, enthusiasm 
awakes enthusiasm, sympathy begets sympathy, through 
these speaker and hearer become one and success is 
secured. 



Scenes from Scott's Lady of the Lake. 



ARGUMENT. 

The scene of Scott's Lady of the Lake is laid chiefly in 
the vicinity of Loch Katrine, in the Western Highlands of 
Perthshire, Scotland. The time of action includes six 
days. The transactions of each day occupy a canto. 
The scenes we have chosen are from the close of the 
fourth and the opening of the fifth, consequently occur 
about the dusk of the fourth day and the dawn of the 
fifth. 

Roderick Dhu is a border chieftain, in open rebellion 
against the Scottish King, and devoted to Douglas, who, 
as History shows, was hated and persecuted by James V. 



DIALOGUE. 93 

James Fitz-James is James V., King of Scotland, who, 
for the purpose of seeing that justice was regularly ad- 
ministered, frequently traversed his kingdom alone and 
in disguise. On this occasion he has lost his way; he 
finds himself in the midst of Roderick's followers. If 
attacked, he determines to defend himself to the last. 
Turning a sharp projection of rock, he comes upon 
Roderick, resting by a watch-fire. 

Our dialogue gives the issue of their meeting. 

COSTUMES. 

Fitz-James. — Green hunting-dress, bound with gold — 
cap and feathers, russet boots, spurs, leather belt, small 
bugle, sword etc. 

Roderick Dhu. — Complete Highland Chieftain's, 
green plaid dress, with green tartan, bugle, sword and 
shield. 
Squires. — Scotch gentleman's; fringed plaids, cuirasses. 

FENCING. ACADEMIC SALUTE. 

Draw sword in four motions; to guard, of carte, beat- 
ing double appelle, drawing up and extending sword 
on line with shoulder; nails in carte. Counter parade of 
arte retiring into seconie, raising cap as right hand 
falls. Describe circle inside passing left heel to ball of 
right toe — foil on line with shoulder; left hand and cap 
four inches clear of left thigh, palm to front. Recover. 
If leading, salute to right in tierce, opponent in carte to 
left of his own body. Describe circle inside of body 
coming on guard of carte, beating double appelle. Pass 
left heel to ball of right foot, raising the arm and foil 
obliquely. Let fall to salute. Retire with left foot to 
the distance of guard and baat double appdle. 



Scene I. — A wild Rocky Glen. Fore Pieces showing Rocks, 
Hills, Bracken and Heather. One Great Projecting Rock. A 



94 ELOCUTION AS AN ART. 



"S 



Watch-fire. Time — Late in the Evening 

Roderick Dhu, wrapped in his plaid stretched upon the heath 
before the fire: Fitz- James disguised as Saxon Knight, conies 
suddenly upon him. They do not recognize each other. 

Roderick. — (Springing up and drawing sivord.) 
Thy name and purpose! 
Saxon, stand ! 

Fitz-J ames. — A stranger. 

Rod. — What dost thou require? 

Fitz-J. — Rest and a guide and food and fire. 
My life's beset my path is lost, 
The gale has chilled my limbs with frost. 

Rod. — Art thou a friend to Roderick? 

Fitz-J.— No! 

Rod. — Thou darest not call thyself a foe! 

Fitz-J. — 1 dare to him and all the band, 

He brings to aid his murderous hand. 

Rod. — Bold words! — but, though the beast of game, 
The privilege of chase may claim, 
Though space and law the stag we lend — 
Ere hound we slip or bow we bend, 
Who ever recked where, how, or when, 
The prowling fox was trapped and slain 
Thus treacherous scouts, — yet, sure may lie, 
Who say thou earnest a secret spy. 

Fitz-J. — They do, I vow! Come Roderic Dhu, 
And ot his clan the boldest two, 
And let me but till morning rest 
I write the falsehood on their crest. 

Rod. — If by the blaze I mark aright 

Thou bearest the belt and spur of Knight, — 
Enough, enough, sit down and share, 
A soldier's couch, a soldier's fare. 

(Music.) 



DIALOGUE. 95 

( Fitz-Ja??ies stretches himself on the heath; Roderick 
takes from rock or tree or wallet, bread, fruit and wine, after- 
ward lays dry fuel on the fire. ) 

Rod. — (Sorting his fruit) — 

Stranger, I am to Roderick Dhu 

A clansman born, a kinsman true, 

But not for clan nor kindred's cause 

Will I depart from honor's laws; 

To assail a wearied man were shame, 

And stranger is a holy name. 

Then rest thee here till dawn of day, 

Myself will guide thee on the way, 

As far as Coilantogle's ford, 

From thence thy warrant is thy sword. 

Fitz-J. — I take thy courtesy, by heaven, 
As freely, as 'tis nobly given. 

Rod. — Why sought thee wilds, traversed by few 
Without a pass from Roderick Dhu? 

Fitz-J. — Brave Gael, my pass in danger tried, 
Hangs in my belt and by my side; 
Yet sooth to lell, it must be said, 
I dreamt not now to claim its aid. 
When here, but three days since, I came, 
Bewilder'd in pursuit of game. 

Rod. — Yet why, a second venture try? 

Fitz-J. — A warrior thou and askest why! 

Rod. — Thy secret keep, I urge thee not: 

Yet ere again, ye sought this spot, 
Say, heard ye naught of lowland war, 
Against Clan Alpine, raised by Mar? 

Fitz-J. — No, by my word ; of bands prepared 
To guard King James' sports I heard ; 
No doubt I ought, but, when they hear, 
This master of the mountaineer, 



9 6 ELOCUTION AS AN ART. 

Their pennons will abroad be flung 
Which else in Doune had peaceful hung. 

Rod. — Free be they flung! for we were loth. 

Their silken folds should feed the moth. 
But, stranger, peaceful since you came, 
Bewildered in the mountain game, 
Whence the bold boast by which you show 
Vich-Alpine's vowed and mortal foe? 

Frrz-J. — Warrior, but yester morn I knew, 

Naught of thy Chieftain Roderick Dhu, 
Save as an outlawed, desperate man, 
The chief of a rebellious clan, 
Who in the regent's courc and sight, 
With ruffian dagger stabbed a Knight. 

Rod. — And heard'st thou why he drew his blade! 
Why kinship thus he lesser made? 
Heard'st thou that shameful word and blow, 
Brought Roderick's vengeance on his foe? 

Fitz-J. — Still was it outrage; yet 'tis true, 

Not then claimed sovereignty its due; 
Methinks a soul like thine should scorn 
The spoils from such foul foray borne! 

Rod. — (Smiling) — Saxon, from yon mountain high, 
I marked thee send delighted eye 
Far to the south and east where lay, 
Extended in succession gay, 
Deep waning fields and pastures green, 
With gentle slopes and groves between 
These fertile plains, that softened gale 
Were once the birth-right of the Gael; 
The stranger came with iron hand 
And from our fathers reft the land. 
Where dwell we now? See rudely swell. 
Crag over crag and fell o'er fell. 



DIALOGUE. 97 

Ask we this savage hill we tread, 
For fattened steer or household bread, 
[Impassioned) 

Ask me for flocks these shingles dry, 
And well the mountain might reply, 
To you as to your sires of yore, 
Belong the target and claymore, 
I give you shelter in my breast, 
Your own good blades must win the rest. 
(Quick) 

Aye, by my soul — while on your plain, 

The Saxon rears one shock of grain, 

While, of ten thousand herds, there strays 

But one along yon river's maze — 

The Gael of plain and river heir, 

Shall, with strong hand, redeem his share. 

Where live the mountain chiefs who hold, 

That plundering lowland field and fold, 

Is aught but retribution true? 

Seek other cause 'gainst Roderick Dhu. 

Fitz-J. — Reflect, my friend and if I sought, 

Thinkst thou no other could be bought? 
What deem ye of my path waylaid? 
My life given o'er to ambuscade? 

Rod. — As of a meed to rashness due, 

Hadst thou sent warning fair and true. 

Fitz-J. — Well let it pass; nor will I now 
Freih cause of enmity avow, 
To chafe thy mood and cloud thy brow. 
Enough I am by promise tied 
To match me with this man of pride. 

Rod. — Have then thy wish. 

(He whistles', instantly men appear from 



9 8 ELOCUTION AS AN ART. 

brake?!, heath and hill. Fitz- James is surprised.} 
How say'st thou now? 

These men of flashing eye and sable brow — 
These are Clan-Alpine's warriors true, 
And Saxon — I — am Roderick Dhu! 
{Fitz- James gazes on him in admiration; then gla?ices 
over the field, leaps to a rock, plants his back firmly against it, 
draws sword. ) 

Fitz-J. — Come one, come all, this rock shall fly 
From his firm base as soon as I. 
{Roderick waves his sword, the men disappear.) 
Rod. — Thou art my guest; I pledge my word 
As far as Coilantogle ford; 
So move we on; I only meant, 
To show the reed on which you leant, 
Deeming this path you might pursue 
Without a pass from Roderick Dhu. 



Scene II. — A wild mountain pass, with running stream. 
Time, Early morning. 

{Roderick and Fitz- James enter.) 
Rod. — Bold Saxon! to his promise just, 

Vich- Alpine has discharged his trust, 
This murderous chief, this ruthless man, 
This head of a rebellious clan, 
Hath led thee safe through watch and ward, 
Far past Clan-Alpine's outmost guard, 
Now man to man and steel to steel, 
A chieftain's vengeance thou shalt feel ; 
See here, all vantageless I stand, 
Arm'd like thyself, with single brand. 
For this is Coilantogle ford. 



DIALOGUE. 99 

And thou must keep thee with thy sword. 

Fitz-J. — Roderick know, I ne'er delayed 

When foeman bade me draw my blade, 
Nay, more, brave chief, I vow'd thy death, 
Yet sure thy fair and generous faith, 
And my deep debt for life preserved, 
A better meed have well deserved : 
Can nought but blood our feud atone? 
Are there no means? 

Rod. — No, stranger, none! 

And hear, to fire thy flagging zeal 
The Saxon cause rests on thy steel, 
Who spills the foremost foeman 's life, 
His party conquers in the strife. 

Fitz-J. — ( Pointing to rock ) — Seek yonder brake, be- 
neath the cliff, 
There lies Red Murdock stark and stiff. 
Thus fate has solved her prophecy. 
Then yield to fate and not to me. 
To James, at Sterling, let us go 
Whom if thou wilt be still his foe. 
Or if the King will not agree 
To grant thee grace and favor free, 
I plight my honor, oath and word, 
That, to thy native strength restored, 
With eaci advantage shalt thou stand 
That aids thee now to guard thy land. 

Rod. — Because a wretched Kern ye slew, 

Dar'st homage name to Roderick Dhu ! 
He yields not, he, to man nor fate, 
Thou aJd'st hut fuel to his hate! 
(Fits- James seems troubled^ not from fear but from 
honor due his host.) 

Not yet prepared! By heaven, I change 



ioo ELOCUTION AS AN ART. 

My thought and hold thy valor light 
As that of some vain carpet Knight. 
Fitz-J. — I thank thee, Roderick, for the word; 
It nerves my heart, it steels my sword; 
Now truce farewell and ruth begone, 
Yet think not that by thee alone, 
Proud chief, can courtesy be shown, 
Though not from copse or heath or cairn, 
Start at my whistle clans-men stern, 
Of this small horn {lifts horn suspended at side) 

one feeble blast, 
Would fearful odds against thee cast, 
But fear not — doubt not — which thou wilt, 
We try this quarrel hilt to hilt. 
( They fence. — See directions for Academic Salute. Fitz - 
Ja?nes gains advantage — Forces Roderick's sword from his 
hand — Roderick falls on one knee — Resists.) 
Fitz-J. — (With siuord pointed at his foe) — 

Now yield thee, or by Him who made 
The world, thy heart's blood dyes my blade! 
Rod. — Thy threats, thy mercy, I defy, 

Let recreant yield who fears to die. 
{He draws a dagger . Fitz- fames — Fitz- James par- 
ries the blow — Roderick falls back — Faints.) 
Fitz- J. — {Looking sadly on him) — 

Thus with each foe must die or live. 
The praise that Faith and Valor give. 
{He blozvs a bugle — Enter four Squires — Points to 
Roderick. ) \ 

Bind his wounds, no doubt his weight 
Was destined for a fairer freight, 
And bring him on to Sterling straight. 
The sun rides high: I must be boune 



DIALOGUE. 101 

To see the archer game at noon. 

TABLEAU. 

A Squire kneels to examine the Knight" s wound, another 
tears his handkerchief for bandage, a third lifts the Knight's 
head to his knee. The fourth stands by Ja?nes as if to 
accompany him to Sterling. Curtain. 

:o: 

Scene from Fabiola. 



Discovered — A Terrace refreshed by a graceful foun- 
tain and covered with rare exotics. Beyond, a small 
room exquisitely appointed, near the center a couch, 
a porphyry table with open manuscript, trinkets, 
etc. The Pagan Fabiola, arrayed in the fashion of her 
time, proud, haughty and imperious, reclines on the 
couch, holding in her left hand a silver mirror with a 
handle and in her right a sharp stiletto. A little behind 
and to her left, a Greek slave in attitude of admiration, 
a scarf thrown over her arm ; a Nubian woman holds in 
one hand a box, with the other she applies a small 
brush to the proud beauty's eyes; Syra, a Christian 
slave, stands one side arranging a small bouquet of 
rarest flowers, to be worn by her mistress. 

Numidian Slave. — Would I might be in the outer hall 
this evening, to observe the effect of this stribium 
(antimony) on my lady's guests!. (Fabiola smiles, 
taps her foot. ) 

Greek Slave. — I should not aspire so high, I should 
be satisfied to look from the outside door; then I 
should see the result of my study. (Fabiola looks 
towards Syra and frowns. ) 

Fabiola. — (With conte.npt.) — And you, Syra, what do 



32 ELOCUTION AS AN ART. 

you desire and what would you praise? 

Syra. — I have nothing to desire, noble lady, nothing 
to praise. 

Fabiola. — {Haughtily) — Slave, thou art not overgiven 
to praise. 

Syra. — {Humbly.} — What worth were it from me, 
noble lady, accustomed as thou art to receive it 
from polished and eloquent lips. Dost thou believe 
it, when heard from them? Thou wouldst despise 
it from 171 e. 

Fabiola. — {More haughtily.) — Have yon yet to learn 
thou art mine, I have as good a right to thy tongue 
as to thy hands. 

Syra. — {More humbly.) — True, my life, and all that 
ends it, belong to thee, {brilliantly) — but I still 
hold as my own, what no gold can purchase, nor 
chain of slavery fetter. 

Fabiola. — ( Astonished and scornful. ) — And pray 
what is that? 

Syra. — A soul! 

Fabiola. — {-To whom this idea is tiew, shows eagerness, 
surprise and scorn.) — And pray, what mean you 
by soul? 

Syra. — That inward living consciousness, which 
makes me feel to have an existence among better 
things than surrourt'j me, which shrinks from des- 
truction, abhors flattery and detests lies. 

Fabiola. — {Startled.) — Who has taught you to prate in 
this manner? Do you fancy ihat, after death you 
shall survive a conscious being? 

syra. — Yes, I hope, nay, I believe and know I shall sur- 
vive this. I shall be built up in this my body, free, 
joyful and glorious, loving forever and being loved. 

Fabiola. — Wild visions of eastern fancy — you must 



DIALOGUE. 103 

be cured of them. Where learned you this brilliant 
nonsense? 

syra. — In school of my own land, wherein exists no 
distinction of Greek and Barbarian, freeman or 
slave. 

Fabiola. — {Passionately) — What! Wouldst thou be 
my equal, nay, my superior! Tell me of this school 
at once, without daring to equivocate. 

Syra. — Most noble mistress, far superior are you to 
me in position and power, learning and genius, — in 
all that enriches life. {Pauses) — If I must answer 
simple truth, I put it to your own judgment, whether 
a slave who holds consciousness of a spiritual and 
living intelligence, whose existence is immortality, 
whose eternal home is above the skies, whose proto- 
type is God, — can hold herself inferior in moral 
dignity, or lower in sphere of thought, than one 
who, however gifted, owns that she claims no higher 
destiny, recognizes no sublimer end that what 
awaits the irrational animal! 

{Fabiola s eyes flash — she, a Roman noble, is rebuked by a slave 
— she rises in fury — blind 'with passion, makes a dash at her un- 
resisting handmaid, witk a stiletto. Syra falls on one knee, 
throws up her arm to defend herself; she is gashed — the blood 
streams. — The mark can be put on before-hand, under a loose 
sleeve — the arm must 1 ise and the stroke be given at the instant, 
else the audience shall perceive the rouge . Syra ran also have a 
sponge saturated with red liquid in her left hand. When she 
presses her handkerchief over the wound this pressure oozes out 
the liquid which shall show as blood. The two women show 
signs of fear. ) 

Fabiola. — {ToSyra) — Go, go — go to Europhyne and 
have the wound dressed. I did not mean to hurt 



io 4 ELOCUTION AS AN ART. 

you so grievously. (Syra turns to go) — Stay, take 
this ring [draws jewelled ring from her finger — Syra 
goes on one knee to receive it.) It is some compensa- 
tion. {The Greek and Numidian take positions — Tableau 
Curtain. ) 

COSTUMES. 

Fabiola. — The loose robe, sleeve and stola of the Roman 
lady in the beginning of the Fourth Century. 

Syra. — The plain robe of the Roman slave. 

The Greek. — The same. 

The Numidian. — The dress of her Century, with a striped 
turban, formed and worn after the fashion of the Souther?i 




PART II 



VOCAL FLEXIBILITY. 



°5 



PART II. 
CHAPTER I. 

Vocal Flexibility. 



The chief charm of voice in reading depends upon its 
easy movement through varieties of tone, expressive of 
emotion, sentiment and passion, this we call expression 
or voice rendered submissive to feeling. To acquire 
such flexibility ambitious pupils must make arduous 
efforts. 

Transition, slide, modulation and pitch, are the results 
of careful exercise. Let the pupil practise the follow- 
ing: 

Ex. I. — Suppose yourself surprised and astonished 
at something distasteful and disagreeable, tnat 
you are told you shall do. Then in more or 
less indignant reply utter one, or more, or all of the 
following words, with upward slide of voice: 

Indeed! Ah! Shall! 
Practice with various degrees of emotion, sweeping 
the voice through an octave up, then down to the 
key-note or initial tone. 



First — Three notes. — 
Second — Five notes. — 
Third — Octave. — 
Downward Thirds. — 
Fifths.— 
Eights.— 



Ah! 


Indeed ! 


Shall! 


— ' 


v ' 


■ — ^ 


Ah! 


Indeed ! 


Shall ! 


•^ 


s^< 


N^ 


Ah! 


Indeed ! 


Shall! 


^— V 


^■^ 


s-~^ 


Shall! 


Indeed ! 


Ah! 


«*— s 


^-^ 


,— ^ 


Shall! 


Indeed ! 


Ah! 


•— N 


^v 


^-^ 


Shall! 


Indeed ! 


Ah! 



i o6 ELOCUTION AS AN ART. 

Thirds. — Upward. — Boy! Boy! Boy! 

" Downward. — Boy! Boy! Boy! 

Fifths. — Upward. — Boy! I! I! 

Downward.— I! Boy! I! 

Eights. — Upward. — I! Boy! I! 

Fifths.— " Boy! Indeed! 

" Upward. — I an itching palm? 

" Downward. — Boy! Indeed! 

Upward. — Oct. — I an itching palm? 

Apply these slides to the following exercises, The 
Fifths Slides are in Italics; Octave Slides Small Capitals. 
Some read the examples given with falling or downward 
slides of voice. They are here used with the opposite, 
full reasons for which have been given in chapter on In- 
flections. 

Ex. II. — From Coriolaxus — Act v, scene v. 
Aufidius. — Name not the god, thou boy of tears. 

Cor. — Measureless liar! (oct.) thou hast made my heart 

Too great for what contains it. Boy! O slave' 

***** Boy! IudccJ\ 
If you have writ your annals true, 'tis there 
That like an eagle in a dove cot I 
Fluttered vour Volscians in Corioli; 



VOCAL FLEXIBILITY. 107 



Alone I did it. Boy! 
Ex. Julius Cesar — Act iv, scene iii. 
Brutus. — Let me tell you, Cassius, you yourself 

Are much condemned to have an itching palm ; 

To sell and mart your offices for gold 

To undeservers. 

Cassius. — I an itching palm! 

You know that you are Brutus that speak this, 
Or, by the gods, this speech were else your last. 

Brutus. — The name of Cassius honors this corruption, 
And chastisement doth therefore hide - his head. 

Cassius. — Chastisement .' 

He * H= He * He 

Cas. — O ye gods' ', ye gods' ! must I endure all this} 
Bri\ — All this .' ay, more: fret till your proud heart 
break; 
Go, show your slaves how choleric you are, 
And make your bondmen tremble. Must I budge? 
Must / observe you ? must / stand and crouch 
Under your testy humour! By the gods, 
You shall digest the venom of your spleen. 
Though it do split you ; for, from this day forth, 
I'll use thee for my mirth, yea, for my laughter, 
When 3*ou are waspish. 
Take the following, first five lines, second book 
Paradise Lost; articulate them as divided in Ex. and 
recite them in middle pitch of voice. Then repeat, one 
note higher; again one note higher still, and so to the 
full reach of voice, without shouting. Then descend on 
each repetition of the lines one note, until as low as the 
voice will reach. Repeat this exercise frequently, and 
it will be found one of the very, best — adding as it will. 



io8 



ELOCUTION AS AN ART. 



in a short time, notes above and below the pupil's voice 

capacity at the commencement. 
Ex. III.— 

High-on-a-throne-of-roy-al-state,-which-far 
Out-shone-the-wealth-of-Or-mus-and-of-Ind ; 
Or-where-the-gor-geous-east,-with-rich-est-hand, 
Showers-on-her-kings,-bar-ba-ric-pearl-and-gold, 
Sa-tan-ex-alt-ed-sat. 

Ex. IV. — Execute, as exercise, the following lines 
from "Mid-Summer Night's Dream," beginning at 
the bottom, ascending and descending as con- 
structed: 

fire I 

thorough 
flood do 

thorough 
pale wan- 



over 
park 
over 
brier 
thorough 
bush 
thorough 
dale 
over 
hill 
over 



der 



eve- 



ry- 



where 
swift- 
er 

than 
the 
moones 
sphere. 

Ex. V. — Thus after the manner of the last ex- 
ercise give the following correct reading. "Macbeth 



How, now, spirit, whither wander you? 



VOCAL FLEXIBILITY. 109 

to Witches," Act iv, scene 1. But in each member, 
as numbered, let the voice rise by pitch, not by 
slide. On the descent, let it slide strongly down, 
in full tones. Read from below upwards: 

tumble all together — Even till destruction sicken, 
6. Tho' the treasures of nature's germens j> 
their heads to their foundations t/> 

5. Tho' palaces and pyramids do slope 

their warders' heads: _ 

4. Tho' castles topple on n> 

and trees blown down? o 

3. Tho' bladed corn be lodged % 

and swallow navigation^/.? ** 

2. Tho' the yesty waves confound & 



them fight against the churches? 



1. Tho' you untie the winds and let g 

Howe'er you come to know it, answer me: 
Mac. I conjure you, by that which you profess, 

Ex. VI . — The following lines are also read from 
the bottom upward, with full sweep of voice. Take 
care that the first tone of each line agrees with 
the last of the line you have just repeated. 

ho""! 
what, warder,' 
grooms 
Up' drawbridge, 

nd~ '! 
By St. Bride of Bothwell 

No w ! 
And hop'st thou hence unscathed to go x ? 
The Douglas' in his hall'? 
To beard' the lion in his 'dcrif 
And dar'st thou then 



ELOCUTION AS AN ART. no 

Ex. VII. — a Roman citizen'? 

torture' 3 

scourge', ^< 

bind'! i 

in sight of Italy', ~ 

in a Roman province', ? 

who holds power of the Roman people', Z. 

a governor , ^- 

Shall an inferior magistrate', £ 

Is it come to //*«■ .? -' 

Ex. VIII.— To the deep', 

down*. 

To the deep', 

down". 
5. Through the shades of sleep — 
Through the cloudy strife 
Of death and of life; 
Through the veil and the bar 
Of things that seem and are, 
10. Even to the steps of the remotest throne', — 
1 1. Down ! 

Down ! 

Down ! 

Ex. IX. — Practise the following in the five lowest 
tones of voice the student is able to command. 
Begin above and descend : 

Hoarse' wintry blasts', 
. A solemn requiem sung, 
To the departed day'; 
Upon whose bier' the velvet pall of midnight had 

been flung', 
And nature mourned", through one wide hemis- 
phere'. 



VOCAL FLEXIBILITY. in 

The following extract from the '* Veiled Prophet," 
Lalla Rookh, and like passages present good opportunity 
for practice in flexibility. " Mokanna " is represented 
"pondering," and — 

Ex. X. — At length, with fiendish laugh, like that 
which broke 
From Eblis, at the fall of man, he spoke — 
''Yes, ye vile race, for hell's amusement given ; 
11 Too mean for earth' yet claiming kin with heaven\ 
" God's' images' forsooth! — Such gods as he 
"Whom India serves, the monkey'-deity' : 
Ye creatures of a breath! proud things of clay! 
"To whom if Lucifer, as grandams say, 
" Refused' — though at the forfeit of heaven's light — 
" To bend' in worship', Lucifer v was rightM 
" Ye wise' ! ye learned', who grope your dull way on, 
" By the dim twinkling gleam, of ages gone 
"Ye shall have honors' — wealth', yes sages, yes' — 
" I know v grave fools' , your wisdom's nothingness': 
" Undazzled, it can track yon starry sphere 
" But a gilt stick, a bauble, blinds it here' . 
" How I shall laugh, when trumpeted along 
" In lying speech and still more lying song 
" Their wits bought up, their wisdom shrunk so small 
4 A sceptre's puny point, can wield it all? 
" Ye, too, believers of incredible creeds I 
*' Whose faith enshrines the monsters which it breeds 
'' Ye shall have miracles, aye, sound ones, too, 
"Seen, heard, attested, everything — but true. 

So also in this extract from Virginius, Act i, Sc. ii. 

Virginia. — Well, father, what's your will? 

Virginius. — I wished to see you, 

To ask you of your tasks — how they go on — 



2 ELOCUTION AS AN ART. 

And what your masters say of you — what last 
You did? I hope you never play 
The truant ! 

Virg. The truant ! No, indeed, Virginius. 
Ver. I am sure you do not — kiss me. 
Virg. O my father! 

I am so happy when you're kind to me! 

Vir. You are so happy when I'm kind to you! 
Am I not always kind? I never spoke 
An angry word to you in all my life, 
Virginia! You are happy when I ' ;;/ kind ! 
That's strange — and makes me think you have some 

reason 
To fear I may be otherwise than kind. 
Is 't so my girl? 



CHAPTER II. 



Force and Stress. 



As all our motions, actions, passions, take their form 
and direction from the nerve centres, so the dynamic 
stroke which indicates the mental condition, the action 
or ictus given to the voice, its agent in expression, is 
discovered in the force of utterance. 

The organic sympathy of our nature acting from brain- 
nerve to muscle, produces at the mind's demand action 
voluntary or involuntary, that from diaphragm through 
lungs expels the air in compact volume and decisive 
movement, making it full, strong and effective. It is 
this that in all tones of voice gives body and power 
more serviceable to the speaker than increased height of 



FORCE AND STRESS. 113 

pitch or loudness, and is to be thoughtfully considered 
and practiced in contradiction thereto. 

Force correctly understood means flower to the voice. 
Loudness is more like noise. Force under proper man- 
agement gives volume and dignity, whether the tones be 
high or low. Loudness depends too much upon high 
pitch, throat-labor and falsetto tones without full action 
of the abdominal muscles as the propulsive power. The 
former gives the pure tone and orotund. The latter 
leads to redundant guttural and aspirate qualities, injur- 
ing both voice and organs. Force is the result of full- 
supplied breath in compact, "unbroken column. Loudness 
favors that fitful, spasmodic action which chafes and 
abrades delicate vocal membranes, thus leading to their 

debility and disease. 

Force and volume relate to space and power; loudness 
pertains to distance. 

Force faithfully practiced under its various modifica- 
tions strengthens the vocal organs and gives them 
flexibility and vigor. Its forms are: 
The Effusive — which is smooth and subdued. 
Expulsive — " abrupt and earnest. 
Explosive — " energetic and impassioned. 

/// these executive forms, each of which may be more or 
less modified, force is supplemented by its cognate ele- 
ment stress, which completes the character of voice 
action; and here, therefore, let us consider in conjunc- 
tion the subject of stress, which is, in fact, specially ap- 
plied vocal force, 

Stress bears to force the same relation that accent 
bears to emphasis, exhausting its action on single sounds 
as accent does on single syllables. While force like em- 
phasis runs through words, phrases or sentences. 

Stress represents activity, energy, decision, etc. 



ii 4 ELOCUTION AS AN ART. 

Force represents intensity, duration, power, etc. 

Volume represents pomp, dignity, majesty, etc. 

We classify Stress under seven different forms, the 
correct comprehension and management of which are 
indispensable to good reading. 

We represent them by the subjoined symbols: 

Radical, or initial, Stress >> 

Radical Diminuendo Stress < 

Vanishing or Final Stress <C 

Compound Stress X 

Median or Middle Stress <> 

Thorough Stress '=■ 

Tremor 

Thus employed they indicate the character and 
action of the voice required, or the thought they 
symbolize as clearly as do notes or signs in music, 
the tone, quality, or expression, sought by the com- 
poser; and the pupil should accept and study them 
as such exponents. 
Radical stress is the most useful and necessary per- 
haps to the reader or speaker. Its proper use necessi- 
tates expulsive or explosive breathing in one of two 
forms, as >> which symbolizes the abrupt burst of voice 
full force or strength at the opening of the mouth on 
the pronunciation, and a rapid closing of the sound into 
nothing upon the word or syllable as indicated in form 
by its symbol. 

The other we would represent as >, more resembling 
the musical diminuendo and figuring the voice as grad- 
ually moving from the initial burst through a softening 
and diminishing tone to silence. 

It is a philosophic fact that the emotion raised in the 
mind by thoughtive force, resembles its effect; and it is 



FORCE AND STRESS. 115 

just as strong a fact that force will physically follow, 
and psychologically the emotion be transmitted to 
hearer or spectator. But the mind that exerts no force 
conveys listlessness of purpose, and excites or enlists no 
emotional sympathy, earnestness or interest in the 
hearer. 

Force, radical and diminuendo stress are to inter- 
preters the most essential power next to that of vocal 
utterance, speech, judgment and education. Judiciously 
used, with voice qualities, they form the true weapons 
or vocal outfit of the educated orator, giving point and 
edge and life, spirit and dignity and decision, sweetness, 
earnestness and power to his utterance, 

The Radical Stress is the exponent of well directed, 
thoughtive energy, decision, force, firmness, determination, etc. 

Bad taste, want of thought or judgment, may lead to 
habit of employing this stress upon every few words, 
thus giving to the voice a jerky, spasmodic, chopping 
action, which conveys arrogance, assumption, self-co?iceit. 

As a means of practising and acquiring the radical 
stress, tne student may be able to adopt no better form- 
ula than "he following exercises, which should be con- 
tinued for some time and occasionally repeated for 
discipline. 

Ex. XI. — 1st — Count the cardinal numbers slowly 
and clearly. 

1 2 3 4 5 6 7 8 9 io 
2nd —Count as before, but with increasing force and 
pitch on each number. 

123456789 10 
3rd — Occasionally, after the manner of a clear, hearty 
laugh, use the sound: 

Ha, ha, ha, ha, ha. ha. 

4th — Run the notes of the gamut in staccato form as 
high as the speaking voice will reach, taking good 



n6 ELOCUTION AS AN ART. 

care to give to each the clear radical stroke, and 
to avoid any approach to prolonged or singing 
tones. 

>>>> >>>>> 

Do, re, mi, fa, sol, la si, do, re, &c. 
Then in same manner descend. Repeat three 
times. 
These will form the best exercises for clearing, 
strengthening and giving to the voice sparkle and pre- 
cision of stroke. 

For the following exercise let there be a full inspira- 
tion through the nostrils, then a moment's occlusion of 
the larynx, barring the breath for a full and sudden dis- 
charge. Then opening the mouth expel the air by 
rapid action of the abdominal muscles, exploding the 
voice and closing it immediatelv. Use such words as 
''HALT!" " FALL" " FORWARD!" "HOLD!" etc. 
A fair practice on these will give the student the cor- 
rect idea of stress, which, as before stated, is force applied 
to single sound. 

> > > 

Ex. XIII. — Cas. — B/7/tus, bay not me; 
I'll not end/ire it: you iorget yourself, 
To hedge me in; I am a sc?ld\er — /, 
Older in practice, abler than yourself 
To make com////ons. 
Bru. — Go to; you are not Celsius. 
Cas. — I am. 

Bru. — I say you are not. 

Cas. — U/xr me no more, I shall iorget myself. 
The most difficult management of force and stress ap- 
pears to be in their natural application to changing hues 
and shades of thought as such pass before the reader's 
eye; requiring sometimes swell and volume in effusive 
orotund, indicating majesty, sublimity and grandeur. 
Again that low, effusive, pure, subdued and median con- 
trol, that speaks a change to serious or pathetic; per- 
chance the high, expulsive, energetic force and impas- 
sioned stress, whose hastened movements tell of joy, 
etc., and all of which, as well as others, often occur in 
single sentences. 



FORCE AND STRESS. 



117 



To effect grace and facility in this a most valuable 
practice may be had upon the following scale or ladder, 
which will be found the most certain guide to the order 
of thought and expression indicated in the corresponding- 
column. 

The mode of practising the scale is simply to strike 
the key-note, and with proper force applied to voice, 
read each selection from below upwards; then down; 
then promiscuously until the result is certain and the 
voice pitch, force and transition easy. 

Ex. XIV.— 
Scale for Exercise in Force, Pitch and Modulation. 



8th [ Octave. ] 



7th [ Semitone. ] 



6th Tone. 



5th Tone [Domi- 
nant pitch.] 



4th Tone [Sub- 
dominant.] 



3rd [Semi-tone.] 



2d Tone. 



1st Tone [Key- 
note.] 



DO 



SI 



LA 



SOL 



FA 



MI 



RE 



DO 



If thou speak'st false, upon 
the next tree shalt thou 
hang, alive. 

What man dare, I dare! 
Take any shape but that 
and my firm nerves shall 
never tremble, etc. 

Wreathe the bowl with 
flowers of soul. The 
brightest wit can find us! 

Therefore, my lords, omit 
no happy hour, that may 
give furtherance to our 
expedition, etc 

I speak to time and to eter- 
nity, of which I grow a 
portion, not to man. 



O, Thou that rollest above! Solemn and 

round as the shield of my ' earnest ap- 

fathers. Whence are thy | peal, 
beams, O Sun! 



Impassion- 
ed orotund, 
excitement. 

E n e r getic 
orotund, 
alarm. 



Joy or hu- 
mor. 



Bold 
orotund. 



Grave 
Tone. 



Thus conscience does make 
cowards of us all; and thus 
the native hue of resolu- 
tion is sicklied o'er, etc. 



To be, or not to be: 
the question, etc. 



that is 



Solemn 
orotund. 



Tone of so- 
lemn awe 



1 18 ELOCUTION AS AN ART. 

Force and stress may be said to rank among the most 
subtle agencies in expression, at least to the uninitiated, 
who fail to see the mode of execution whereby such 
strength and full development of thought and signifi- 
cance are given; and not unfrequently good readers de- 
tect a majesty, or power, an elegance and finish about 
the reading of another as distinguished from their own; 
and do not know that in the application of these ele- 
ments consists the difference. A very fine illustration 
and test of this is found in the lines of Alfred Evelyn in 
the following extract from "Money," act ii, sc. i — mark 
the italics: 

Ex. XV. — Eve. — Zeft fatherless, when but a boy, my 
poor mother' grudged! herself food* to give me edu- 
cation. Some one had told her that /earning was better 
th?>n house and land — that's a lie, Graves! 

Graves. — A scandalous lie, Evelyn! 

Eve. — On the strength of that lie I was put to school — 
sent to college, a sizar. Do you know what a sizar 
is 2 In J> ride he is a gentleman* — in knowledge he is 
a scholar — and he crawls about, amidst gentlemen 
and scholars, with the livery of a pauper on his 
back ! I carried off the great prizes — I became dis- 
tinguished — I looked to a high degree, leading to 3. fel- 
lowship; that is, an inde/><?//dence for myself* — a home 
for my mother. One day a young lord insulted me — 
I retorted? — he struck me — refused apology — refused re- 
dress. I was atf*ar! — a Tavihh'. a thing — to be struck .' 
Sir, I was at least aman\ and I horsewhipped him in 
the hall before the eyes of the whole College .' — A few 
days, and the lord's chastisement was forgotten. The 
next day the sizar was expelled — the career of a life 
blasted .' — That is the difference between Rich and 



FORCE AND STRESS. 119 

Poor; it takes a whirlvrlnd to move' the 0/2/ — & breath' 
may uproot the other. 

Let the student attempt the following examples as 
exercises in close of this element — radical stress. 

Ex - XVI. — Hurrah/ the foes are movingl Hark to the 

mingled din 
Of fife and steed, and trump, and drum, and roaring 

culv erin ! 
Theyfc/7 Z>«&? is pricking fast across Saint Andre's 

plain, 
With all the hireling chivalry of Guelders and Al- 

mayne. 
Now, by the lips of those ye love, fair gentlemen of 

¥ra7ice, 
Charge for the golden lilies] — Upon them with the 

lance ! 
A thousand spurs are striking d^p, a thousand 

spears in r^/, 
A thousand knights are pressing <r/<?j-<? behind the 

snow-white fr«/; 
And in they £//;-.?/, and on they rushed while, like a 

guiding star, 
hxnidsX. the thickest carnage, blazed the helmet of 

Nav#/v<?. 

Right well fought all the fm/chmen who fought for 

France to-day; 
And many a lordly banner God gave them, for a prey. 
But 7c'<f of the religion have borne us for/ in fight: 
And the good Lord of Rosny hath ta'en the cornet 

-white — 
Our own true Maximilian the cornet white hath ta'en, 
The cornet white with crosses black, the flag of false 

Lorraine. 



i2o ELOCUTION AS AN ART, 

Up with it, high; unfurl it, wide — that all the host 

may know 
How God hath ///////bled the proud h#//se which 

wn?//ght his church such 7coe. 
Th<?//-on the ground, while trumpets s<?//nd their 

loudest p<?int of war, 
Fling the red s//r<?d,-a foot-cbth meet for Henry of 

Navarre. 

In the following Ex. from Cibber's acting adaptation 
of Richard III, Act v, Sc. v, the force and stress in 
Richard's lines increase gradually to the close. 

Ex. XVII.— King R.— Oh, Catesby! I have had such 

horrid dreams. 
Catesby. — Shadows, my lord, — below the soldier's 

heeding. 
King R. — Now, by the Apostle Paul, shadows to-night 
Have struck more terror to the soul of /tVV//ard 
Than could the substance of ten thousand soldiers. 
Armed all in proof, and led by shallow Richmond. 
Catesby. — Were it but known a dream had frightened 
you 
How would your animated foes presume on't? 
King R. — Perish the> thought ! No, never be it said 
That fate itself could awe the soul of Richard. 
Hence ba //bli n g> dreams .' You ////r</ten>>here in 

> vain ! 
Conscience, araunt .' /?/V//ard's> himself > again ! 

So also the following from Richard III: 

King R. — A flourish: trumpets.' Strike the alarum 
drums .' 
Let>wt the>// ( \7vens hear these>/V7/-tale>v.:'<>men 
Rail on the Lord's anointed :> Strike, l>sayf 



RADICAL DIMINUENDO STRESS. 121 

5}C IyC SfC 2JC 5(s IjC 

Richmond. — Fight, gentlemen of England! Fight, bold 

yeomen ! 
Draw, archers, draw your arroivs to the head ! 
Spur your proud horses hard and ride in bWd ; 
Amaze the welkin with vour broken staves/ 



CHAPTER III. 



Radical Diminuendo Stress. 



There is perceptible in all children's voices, as there 
is also in all cultivated voices, a sweet and soft sound, 
the counterpart of the musical diminuendo. This sound, 
which is the consequence of mental desire to have the 
expressed thought clear, distinct and pleasing to the 
hearer, strikes in full, strong purpose, like more abrupt, 
rad. stress, on the opening of the word. This is with 
intent to be heard and not lost. But because of the 
pleasure it proposes to convey it gradually softens down 
into finer, sweeter, more insinuating form as it closes, 
giving to the voice its most attractive finish. It is there- 
fore the symbol of pleasant, or pretended pleasant, 
mental action in its expression of love, tenderness, persua- 
sion, seductiveness, compliment, flattery and the many-colored 
sentiments ranged under this generic thought. 

Would the orator with strong argument convince, he 
uses the radical stress> ; would he persuade, seduce or 
wheedle others to his views, he abandons the strength and 
decision of lhat element and employs the softer strains of 
the diminuendo>. 

The former is always used in command, the latter in 
solicitation. 



122 ELOCUTION AS AN ART. 

Ex. XVIII. — Indeed, madam,. I wish not to be for- 
ward, but women always seemed to me less cal- 
culated for retirement than men. We have a thousand 
employments, a thousand amusements, which you have 
not. 

We>ride, we>hunt, we > play, > read, > write. 
But dare I>ask what are>your emp/^yments for a 
day? 

O, my lord, you cannot imagine how quickly time 
passes when a certain uniformity guides the minutes 
of our life! How often do I ask: "Is Saturday 
come again so soon? " On a bright, cheerful morn- 
ing my books and breakfast are carried out upon the 
grass plot. Then, is the sweet picture of reviving 
industry and eager innocence always new to me. The 
bird's notes, so often heard, still waken new ideas; the 
herds are led out into the fields; the peasant bends 
his eyes upon his plough. Everything lives and 
moves, and in every creature's mind it seems as it 
were morning. Towards evening I begin to roam 
abroad, from the park into the meadows; and, some- 
times, returning I pause to look at the village boys 
and girls at play. Then do I bless their innocence 
and pray to Heaven those laughing, thoughtless hours 
could be their lot forever. 

In the following exercises the words in Italics receive 
the Radical Diminuendo Stress. 

There is a spell — in every flower 
A sweetness — in each spray 
And every simple bird — hath power 
To please me, with its lay 
And there is music on the breeze 



RADICAL DIMINUENDO STRESS. 123 

That sports, along the glade 

The crystal dew drops, on the trees, 

Are gems — by fancy made 

O, — there is joy and happiness 

In everything I see 

Which bids my .«?«/< rise up and bless 

The God that blesseth me. 

The following extracts from Act iii, sc. ii, Henry VIII, 
afford good example of blending the argumentative and 
persuasive — or attempted wheedling; also of the tone of 
respect, even in high position, due and expressed to su- 
periors. The scene is between Cardinal Wolsey, Cam- 
peius and Queen Katharine in the endeavor to obtain her 
consent to divorce from the King. 

Ex. XIX. — Enter the two Cardinals. 
Wo I. — Peace to your highness ! 

Q. Kath. — Your graces find me here part of a house- 
wife, 
I would be all, against the worst may happen. 
What are your//msures with me, reverend lords? 
Wol. — May it please you, noble madam, to withdraw 
Into your private chamber, we shall give you 
The full cause of our coming. 
Q. Kath. — Speak it here, 

There's nothing I have done yet, o' my conscience, 
Deserves a corner: * * * * 

Wol. — Tanta. est <?/'ga te mentis in/^gritas, regina sere- 

nissima — 
In the Queen's reply will be marked the change of 
manner to the decisive, asservative and the consequent 
natural change to the more abrupt radical stress> in its 
expression : 



i2 4 ELOCUTION AS AN ART. 

Q. Kath. — O, good my lord, no Latin; 
I am not such a truant since my coming, 
As not to know the language I have lived in : 
A strange tongue makes my cause more strange, sus- 
picious; 
Pray, speak in English; here are some will thank 

you, 
If you speak truth, for their poor mistress' sake; 
Believe me, she has had much wrong: lord cardinal, 
The willing'st sin I ever yet com/«//ted 
May be absolved in English. 

Then again the flexure, the conciliatory turn of the 
cardinals, the admitted cause of grievances, employs 
while also marking their humility, (assumed or earnest), 
the deeper form of the Diminuendo aided also by qual- 
ity of voice and time necessary to due interpretation. 

Wol. — Noble lady, 

I am sorry- — my integrity should breed, 

(And service to his majesty and you), 

So deep suspicion- — where, all faith was meant. 

We come not by way of accusation 

To taint that honour every good tongue blesses, 

Nor, to betray you, any way, to sorrow 

You have too much, good lady — but — to know 

How you stand minded, in the weighty difference 

Between thy king and you; and, to deliver^ 

Like free and honest men, our just opinions 

And comforts to your cause. 

Cam. — Most honour d madam. 

My Lord of York, out of his noble nature, 
Zeal and obedience he still bore your grace. 
Forgetting — like a good man — your late censure 
Both of his truth and him — which was too far — 



RADICAL DIMINUENDO STRESS. 125 

Offers, as I do, in a sign of peace, 
His .service and his counsel. 

The tones of Campeius are conceived and executed in 
deepest form of this element conveying as it were apol- 
ogy for his interposition — from his lower sphere than that 
of the prime minister. To both the queen rejoins in 
deprecating thought and words. * * * 

Wol. — Madam, you wrong — the king's love with these 
fears'. 

Your hopes and friends, are infinite. 
Cam. — I would your grace 

Would leave your griefs and take my counsel. 
Q. JCalh.—How>sir? 
Cam. — Put your main cause — into the king's pro/<?<rtion, 

He's loving and — most gracious; 't will be much 

Both for your honor — better, and, your cause, 

Foi if the trials of the law o'ertake ye, 

You'll part away — disgraced. 
Wol. — He tells you rightly. 

Here the queen, incensed, again changes to the radical 
stress which the voice in stern denunciation always as- 
sumes. 

Q. Kath. — Ye tell me what — ye wish for both — my ruin. 
Is this your Christian counsel !>> Out upon ye! 
Heaven is above all yet; there — sits a judge 
That no king can corrupt. 

Ex. XX. — Tender, loving persuasion. Hamlet, act I, 
sc. v. 

Queen. — Let not thy motfrerlose herprayers, Hamlet. 

I pray thee stay with us;^ not to Wittenberg. 
Love, expression, compliment, etc. Merchant of Venice, 

act v., sc. I. 



126 ELOCUTION AS AN ART. 

Lo?'. — The moon shines bright! 



"6 



In such a night 

Did Jessica steal from the wealth}- Jew 

And with an unthrift love did ran from Voiice 

As far as Belmont. 
Jes.- In such a night 

Did young Lorenzo swear he loved her well, 

Stealing her soul with many vows of faith 

And ne'er a true one. 
Lor. — In such a night 

Did pretty Jessica, like a little shrew, 

Slander her love, and he forgave it her. 
Jes. — I would out-night you, did no bod)' come: 

But hark ! I hear the footing ot a man. 
********* 

Lor. — How sweet the moonlight sleeps upon this bank] 
Here will we sit and let the sounds of music 
Creep in our ears: soft stillness and the night 
Become the touches of sweet harmony, 
Sit Jessica. Look how the floor of heaven 
Is thick inlaid with patines of bright gold: 
There's not the smallest orb which thou behold'st 
But in his motion like an angel sings, 
Still quiring to the young-eyed cherubim; 
Such harmony is in immortal souls; 
But whilst this muddy vesture of decay 
Doth grossly close it in, we cannot hear it. 



VANISHING STRESS. 127 

CHAPTER IV. 



Vanishing Stress. 



This represents the closing or vanishing of the voice as 
it explodes in loud broken sound, scattering, as it were, 
rather than dying away. Its symbol<conveys correctly 
the idea of its opening sharp, rapidly swelling and burst- 
ing or breaking off abruptly without diminish. Thus it 
is the voice of petulance, querulousness, impatience, anger, 1 e- 
venge and malignant passions, which, observation shows 
us, all express themselves in these abrupt conclusions. 
It is used only in explosive form, and marks always, 
where dominant, a peevish, "crossed-grained"' temper. 
Yet it marks also good qualities in our nature, and es- 
sentially tones and energizes the voice in strong manly 
resolve, argumentative remonstrance, resolute resistance, repul- 
sion of wrong, etc. So as a part of our nature it becomes 
a necessary element of elocution in the artistic presenta- 
tion of such emotions and passions. 

In its lower form of petulance and minor passions let 
the pupil, in assumed peevish or querulous mood, as 
that of a spoiled child, practice the words / shant, hold- 
ing for a moment" on the first and then bursting on the 
second thus, I<shant. 

Again, in the higher order, supposing himself 
wronged, imposed upon and resisting improper demand 
in strong, manly tones, his indignation exploding itself 
on the words I 'will not, or I<^wont, and thus a correct 
idea is obtained of its action. 

This may then be run through the voice in all cases 
where opposing, objecting, and as it were antagonizing the 



128 ELOCUTION AS AN ART. 

thought, interpreted, or offensively expressed by another, 
and which will be better understood when the pupil, ad- 
vancing farther, becomes conversant with qualities of 
voice, especially the impure with which it is much asso- 
ciated. 

Ex. XXI. — O, nonsense, don't<talk such<stuff to 
me, it is perfect<bosh. 

O proper^stuff, 

This is the very painting of your fears; 

This is the air dra\vn<^^;' which you said 

Led you X.o<iDiincan. 
Setting aside his high blood's royalty, 

And let him be no kinsman to my liege, 

I do defy him, and \<C.spit at him ; 

$ 4s ♦ * ♦ ♦ + 

Meantime let this detend my loyalty. 

By all my hopes most falsely doth he<7/>. 

And what is death? I've dared him oft before the 
<CP&yii\v[\<Cspear. 

Think ye he's entered at my gate; has come to seek 

m e here ? 
I've met him, faced him, scorned him, when the fight 

was raging-<hot. 
I'll try his might, I'll brave his power, defy and fear 

him not. 

Then, on the ground, while trumpets sound the 
loudest point of war. 
Fling the red<V /; ^, a foot-cloth meet, for Henry 
of Navarre. 

'Be that word our sign of parting, bird or<fiend!" 
I shrieked, upstarting — 



* 



COMPOUND STRESS. 129 

"Get thee back into the tempest and the nights' 

Plutonian shore! 
Leave no black plume as a token of that lie thy soul 

hath spoken! 
Leave my loneliness unbroken ! — quit the bust above 

my door! 
Take thy beak from out my heart, and take thy form 

from off my door ! " 
Quoth the Raven: "Nevermore." 



CHAPTER V. 



Compound Stress. 



This, being a union of the two elements, radical and 
vanishing, is thus presented to the eyeXas the voice- 
form of expression. It closely symbolizes the radical 
burst and explosive vanish of sound thus vocalized, as 
we may observe, in exposition of the passion it interprets. 
These are chiefly scorn, disagreeable surprise, strong mental 
antagonism, contempt, aversion, mockery, sarcasm, raillery. It 
is truly or simply the application of the falling and rising 
\ slides of voice, embodying the volume of the radical van- 
ishing and explosive elements; thus giving intensity to 
passion which the bodiless circumflex inflection cannot 
fill up in power. 

It is confined to impassioned expression, but much 
used in our speech. 

The following exercise will be sufficient for voice dis- 
cipline: 

XX X 

Ex. XXII.— Oh! Indeed! What! 



i 3 o ELOCUTION AS AN ART. 

The rest may be practiced in speech and examples re- 
quiring a few weeks due attention to their management, 
Indignant surprise — 
Thou can'stXnot! 
Playful surprise, assumed indignation — 

X 
"Gray temples at twenty 2 " yes! white if you please; 
Where the snow-flakes fall thickest, there's noihincr 
can freeze. 
"There is, however, one man, who distinctly and au- 
daciously tells the Irish people that they are not 
entitled to the same privileges as Englishmen, and 
pronounces them, in race, identity, and religion, to 
be aliens, — to be aliens in race, to be aliens in coun- 
try, to be aliens in religion! AliXens? GogdXGod! 
was>Arthur, Duke of Wellington, in the>House of 
Lords, and did he not stai t up and exclaim, > Hold ! 
I have seen the aliens do their>Y///r. ' ' 

The following from Croly's Catiline, replying to the 
decree of the Senate, offers good example of the rise 
from strong inflections into compound stress. The whole 
speech is full of force. ve and explosive orotund, rad- 

ical and vanishing stress. 

_ _ < > 

Banished from Rome! What's banished, but set free 
From daily contact with the thing I loathe? 

"Tried and convicted traitor! " Who says this? 
Who'll prove i:, at his peril, on my head? 

Banished! 1 thank thee for't * * * 
Then when the consul has read the decree and orders 



MEDIAN STRESS. 131 

the lictors to drive the traitor from the temple; repeating 
the opprobrious words in rage and indignation, he gives 
it the burst and body of compound stress: 

"Traixtor!" — I<go; but — I re<turn! etc. 



CHAPTER VI. 



Median Stress. 



This is so called because its power is exerted on the 
middle portion of the sound. It is the elocutionary 
counterpart of the crescendo and diminuendo (or swell) 
in music, and by its signOclearly indicates to the eye 
the movement of the voice in its execution. Used with 
care it is one of the happiest vocal efforts, but if carried 
to excess becomes a marked mannerism. 

It is the symbol of thought expressed in tranquil, rev- 
erential, pathetic, sublime and solemn emotions, and, there- 
in, with effusive form, never abrupt or explosive. 

Let the pupil take the syllable ah, awe, oh, and occa- 
sionally practice with clear, full breathing; beginning 
softly, gradually increasing to the middle and then 
diminishing to the close. 

<AH> <AWE> <OH> 

Let the practice be in low and softer forms at first, 
then varied by stronger tones and swell, which will 
furnish in itself all necessary praxis. From this let him 
turn to these practical passages; 

Ex. XXIII.— Slow Time, Low Pitch, Median Stress, 
Orotund — 

<> <> <> 

Oh thou whose balance does the mountains weisfh 



132 ELOCUTION AS AN ART. 

Whose will the wi<>ld tumul<>tuous seas obey. 
You, sir, know 

That you, on the canvas , are to repeat 
Things that are fairest, things most sweet — 
Woods, and cor?ifields, and mulberry tree, 
The mother — the lads — with their birds — at her knee 
But o<>h! that look of reproachful woe! 
High as the heavens your name I'll shout 
If you paint me the picture, and leave that out. 
When the emotions above referred to swell into gran- 
deur or majesty the median takes more of the expulsive 
form, higher pitch, stronger force, and thus its appro- 
priate and limited use gives pomp, dignity and power to 
expression, which adapts it to grand and lofty thought, 
courage, command, admiration, wonder, enthusiasm, high in- 
dignation, remonstrance, adoration, devotion, and kindred 
emotions. It is peculiar to prayer, sacred thought and 
poetry, which without it seem always commonplace and 
characterless. 

Ossiax's Address to the Sun. 
Expulsive Orotund, strong Median Stress, Slow 
Time — 

O thou that roll<> est above! rou<>nd as the shield 
of my fathers. Whence, are thy beams, O sun, thy 
everlasting light? Thou comest forth in thy awful 
beauty; the stars hide themselves in the sky; the moon, 
cold and pale, sinks in the Western wave. But, thou, 
thyself movest alone. 

And O, <>if, perchance, there should be a sphe<>re 
Where, all is made right, which so puzzles us here, 
Where, the glare, and the glitter, and tinsel of time 
Fade and die, in the light of that region, sublime 
Where, the soul, disenchanted, of flesh and of sense 



THOROUGH STRESS. 133 

Unscreened by its trappings, and shows, and pretence 
Must be clothed, for the life, and the service above 
With purity, truth, faith, meekness, andjove; 
O, daughters of Earth ! Eoolish virgins ! Beware ! 
Lest, in that upper realm, you have nothing to wear ! 

Prayer of Henry V. before Agincourt. 
Effusive and Expulsive Orotund, Strong Median, Imp. 
Force. 

<> <> <> <> <> 

K. Hen. — O God of battles! steel my soldier s hearts; 
Possess them not, with fear j take from them ?tow 
The sense of reckoning, if the opposed numbers 
Pluck their hearts from them — Not to-day, O 

Lord, 
O, not to-day, think not upon the fault 
My father made in compassing the crown ! 

Strong Orotund, High Pitch, Full Median Stress— 
" Bra<>vo, " cried Francis, ' right<>ly 
do<>ne! " 



CHAPTER VII. 



Thorough Siress. 



This element is properly used only where the voice, 
requiring to be strengthened for distance, fills up the 
tone with body of air and gives it prolonged character 
which thoroughly sustains and bears the words along ; 
thus closely resembling force as before defined. 

We rarely hear it in ordinary life, except from the 
mouths of street pedlars and others crying out their 



134 ELOCUTION AS AN ART. 

wares. It is altogether out of place in ordinary conver- 
sation, reading or discourse, and always marks coarse- 
ness or want of true cultivation. It is the ground- 
work of the intoning style which long reach of sound 
necessitated in large cathedrals, and which still spoils so 
much good reading. 

It is evidence of power in vocality, and is useful in 
open-air speaking to large crowds and in very large 
buildings; though its office of former years, which was 
chiefly to aid the army-herald in conveying messages, 
standing at safe distances beyond the reach of weapons 
of those times, is nearly obsolete. Its perfection consists 
simply in the avoidance of throat-tones; working the 
abdominal and dorsal muscles; clearly articulating and 
distinctly forming consonant sounds. In reading, it is 
necessary in the interpretation of such passages as the 
following. 

Expulsive Orotund, Thorough Stress, High Pitch — 

Ex. XXIV.— 



Rejoice you men of Angiers ! ring your BELLS: 

King John., your king and England 's, doth approach — 

Open your gates, and give the victors way! 

So Rich. Ill enters, the scene Bosworth Field, seeking 
and calling with all his voice for Richmond — 

Ki.ig. R. — What ho ! young Richmond, ho ! 'tis Richard 
call- ; 
I hate thee, Harry, for thy blood of Lancaster. 
Now, if thou doth not hide thee from my sword — 
Now, while the angry trumpets sound alarms 
And dying groans transpierce the wounded air — 
Richmond, I say! come forth and singly face me! 



THOROUGH STRESS, 135 

Richard is hoarse — with daring thee to arms. 

With such stress also and expulsive orotund should be 
read the following lines of Henry V — calling from below 
to the governor of Harfleur and the citizens on the city 
wall. 



K. Henry. — How yet resolves the governor of the tow?i ? 
This, is lh.' litest parte, we will admit; 
Therefore to our best mercy, give yourselves; 
Or like to men, proud of destruction, 
Defy us to our worst: for, as I am a soldier, 
A name that in my thoughts becomes me best, 
If I begin the battery once again, 
I will not leave the \\-e\i -achieved Harfleur 
Till, in her ashes, site lie buried. 

One touch to her hand and one word in her ear, 

When they reached the hall door and the charger 

stood near, 
So light, to the croupe, the fair lady he swung, 
So light, to the saddle, before her he sprung. 



She is won! We are gone! Over bank, bush and scaur. 
They'll have fleet steeds that follow, quoth young 
Lochinvar. 

Owing to the inflexibility which the high pitch em- 
ployed with this stress gives to the voice, it is, when 
much used, destructive of the grace and finish that other 
forms of stress tend to develop. 



136 ELOCUTION AS AN ART. 

CHAPTER VIII. 



The Tremor. 



This, by some, is regarded as a quality of voice, but 
under such arrangement a difficulty presents itself in the 
question, "What quality! " It is rather a condition or 
intermittent stress of voice, common, and perhaps about 
equally used with, or applied to all qualities. It is the 
process resulting from a nervous or irregular motion of 
the diaphragm, owing to mental disquietude or feeling 
which conveys through nerve to muscle its negative, de- 
ranged, excited or uncertain action. It resembles the 
trill, shake or tremulo of the singing voice, and may be 
thus symbolized™ 

Under the above process it is created deep down in 
the throat, first dropping the jaw and after the manner 
of light laughter, throwing rapid percussive action on 
the diaphragm and thereby into voic^, thus breaking 
impassioned force into abrupt stress, and ejecting it like 
jets of sound. 

Take the vowel sounds of a, e, i, o, u, let the jaw fall, 
and give them a light, tremulous sound; then a little 
stronger — again still stronger, keeping the air in forceful 
pressure from the lungs,and continue long as possible. If 
difficult to effect by the pupil, a few minutes illustration 
by the teacher is worth pages of written instruction. 
The tremor is the natural expression of physical weakness, 
enfeebled age, infirmity, grief, and consequent emotions, but is 
employed with varied qualities of voice expressing many 
passions — exultation, joy, mirth, rapture, grief, sorrow, deep 
distress, scorn, contempt, sarcasm, derision, mockery, fiendish 
glee, chuckling revenge, etc. 



TREMOR. 137 

It must always be accompanied by feeling or passion, 
and generally strikes the emphatic words, except in ex- 
treme age, great excitement, strong emotion, debility, when it 
may pervade almost the entire utterance, as in the fol- 
lowing old ballad : 

Ex. XXV — 

Pity the sorrows of a poor old man 



Whose trembling limbs have borne him to your door. 
Whose days are dwindled to the shortest span, 



Oh, give relief! and heaven will bless your store. 



Oh, take me to your hospitable dome 



Cold blows the wind and piercing is the cold 
Short is my passage to the friendly tomb, 



For I am poor and miserably old. 



The other extreme is exhibited in malignant thought, 
fiendish glee or joy, as in Shylock's impassioned exulta- 
tion and chuckle over the news of Antonio's losses which 
he thinks are to bring about his plotted revenge. 

Voice qualities, guttural and aspirate, high pitch, rapid 
movement. Tremor throughout. 

Tub. Yes, other men have ill luck too: Antonio, as I 
heard in Genoa, — 

Shy. What, what, what? ill luck, ill luck? 

Tub. Hath an argosy cast away, coming from Tripolis. 
Shy. I thank God, I thank God. Is't true, is't true? 

Tub. I spoke with some of the sailors that escaped 
The wreck. 



i 3 8 ELOCUTION AS AN ART. 

Shy. I thank thee, good Tubal : good news, good news ! 
ha, ha! where? in Genoa? 



So also it is shown in the rapid revulsion to deep grief 
which seizes Shylock in the next sentence when reminded 
of his own loss. 

Tub, Your daughter spent in Genoa, as I heard, in 
one night fourscore ducats. 

Shy. Thou stickst a dagger in me: I shall never see 

my gold again: fourscore ducats at a sitting! 



fourscore ducats ! 

Tub There came divers of Antonio's creditors in my 
company to Venice, that swear he cannot choose 
but break. 

Shy. I am very glad of it: I'll plague him; I'll torture 

him : I am glad of it. 

Again in pure grief, as Milton P. L. , Book x, 914, 
makes Eve thus address Adam : — 

Ex. — Pure tone, slow time and tremor throughout. 

Forsake me not thus, Adam! Witness heaven 
What love sincere — and — reverence in my heart 



I bear thee, and — unweetin^ have offended 



Unhappily deceived — thy suppliant 

I beg and clasp thy knees. Bereave me not 
Whereon I live — thy gentle looks — thy aid — 
Thy counsel, in this — uttermost distress — 
My only strength and stay: forlorn of thee 
Whither — shall I betake me, where — subsist? 






EXPULSIVE. 139 

Ecstacy, Joy. — Jennie Brown, Relief of Lucknow. 
Tremor, high pitch, quick time, expulsive force. 
"The Highlanders! O dinna ye hear 

The Slogan far avva? 
The Macgregors ! O! I ken it weel, 

Its the grandest o' them a! " 



'God bless the bonny Highlanders! 

We're saved ! We're saved !" she cried. 



And fell on her knees, and thanks to God 
Flowed forth like a full flood-tide. 
Gladsome Joy. — Tremor, rapid median stress, pure qual- 
ity, high pitch, see Tennyson's '"Queen o' the May." 



From the BATTLE of NEW ORLEANS. 

Act II, Sc. II. 



Chiefly Expul. and Explo. Orotund — do. force and stress. 
(Enter Spirit of Battle.) 

Louisiana. 
(Quickly.) What of the battle? 

Spirit of Battle. 
Lady, ours the field. 

Louisiana. 
To God be thanks ! Quick, boy — what more, we list, 

Spirit of battle, 
Ere the day star had risen, a bird thrilled a song. 
The troops stood to arms, stood in valor as strong 
As oak of the forest. Oh ! that were a sight 
To fill every bosom with martial delight; 
Those patriot heroes arrayed in the might 
Of the cause they had wedded — Freedom and Right — 
No armor, with motto and legend enlaced, 
Threw protection around them — their forms embraced; 
No helmet, nor shield, nor warrior's lance. 



4 o ELOCUTION AS AN ART. 

Was theirs, as they stood waiting orders " advance." 

O think ) r ou, did patriot's heart ever fail, 

Because he wore home-spun, tiot knights clanking mail? 

Did the strong nerve of arm, did the eyes' steady glance 

Relax or grow dazed, bearing musket not lance ? 

Oh ! Gaze on the marshes where Britons were seen, 

One hour ere I speak, in their pride and the sheen 

Of an armor that blazed, 'neath our fire, as a star 

On the brow of the heavens, or as beacon afar — 

And read there if helmet or iron wrought mail 

Proved aught in the hour when dangers prevail ? 

To the legions of Jackson their courage was mail ! 

Their legend of honor never, never to quail 

'Fore danger or death, 'fore fire or steel. 

Freedom' and right to their hearts made appeal, 

The dawn was awaking, stern Jackson was there, 

His brow was illumined, his lips moved in prayer, 

Unequal seemed conflict; the Britons were strong, 

Men well used to battle — in skill, tried and long, — 

"My God," moaned his heart; then his spirit flashed out. 

His men met his eye, with proud glance and glad shout 

"Now lead us to battle, in God is our trust; 

•'The patriot s right is a cause reckoned just! 

"Veterans in arms and young volunteers ! 

"Brave are your words; never falter no fears. 

"Forward to battle for freedom, or chains, 

"If Britain be victor, with each it remains 

"New laurels to win, or to tarnish the fame 

"We erst bore for prowess — change glory to shame — 

"Then forward to battle ! ere yon rising sun 

"Hath kissed the horizon must freedom be won." 

On, on rushed the legions; on, on ere the dawn 

Had blushed into morning, ere sun lit the lawn, 

They sighted the foemen; they saw their brave front, 

Saw the proud chief, who had e'er borne the brunt 

Of red f elds of battle. Would this be to him, 

As theirs, one of glory ? or shall its dawn fling 

Death's shadows around him ! Oh ! which of us knows 

What the future may bear of joys light or death's throes ! 

Louisiana. 
Nay, nay, to the purpose speak; what of the strife ? 



OROTUND. 141 

The result of this hour, is to me death or life. 
Spirit of Battle. 

Jackson raised his glasses, bade his men to halt, 

Scanned the British legions. it Fire ! no default" 

Instant hissed the musket, as thunder cannon roared, 

Fiercely flashed the sabre, galling fire poured, 

The friend, the foe alike, no more by men were seen; 

Seething waves of vapor blazed where they had been; 

No bulwarks now, nor terror, nor sword, nor scorching fame 

Could daunt their martial spirit; their soldier ardor tame. 

"Duty, Men !" cried Jackson, "Steady ! that is well — 

" Waste no ammunition, make every bullet tell ! " 

Then fought the troops as heroes — fought spite, shot and 

shell— 
Fought, till Britains valor before their valor fell . 
Then rose a cheer for Jackson, for New Orleans, for Thee. 
"Down, down, with Britain's Lion, raise the Flag of Liberty." 
Oh! 'twas a valiant feat, and brave, in half an hour 'twas won. 
With dawn began the struggle; rose freedom with the sun, 
List! List ! I hear their voices, 'tis Victory leads them on. 
Of country, home and freedom, is their triumphant song. 



THE BUILDERS. 

Moderate movement and pitch, orotund, rad. and dim. 
stress. 
All are architects of Fate, 

Working in these walls of Time; 

Some with massive deeds and great, 

Some with ornaments of rhyme. 

Nothing useless is, or low, 

Each thing in its place is best; 

And what seems but idle show 

Strengthens and supports the rest. 



142 ELOCUTION AS AN ART. 

For the structure that we raise, 
Time is with material filled; 

Our to-days and yesterdays 

Are the blocks with which we build. 

Truly shape and fashion these; 

Leave no yawning gaps between ; 
Think not, because no man sees, 

Such things will remain unseen. 

In the elder days of Art, 

Builders wrought with greatest care 
Each minute and unseen part; 

For the gods see everywhere. 

Let us do our work as well, 
Both the unseen and seen; 

Make the house where God may dwell 
Beautiful, entire, and clean. 

Else our lives are incomplete, 
Standing in these walls of Time, 

Broken stairways, where the feet 
Stumble as they seeK to climb. 

Build to-day, then, strong and sure, 
With a firm and ample base; 

And ascending and secure 

Shall to-morrow find its place, 

Thus alone can we attain 

To those turrets, where the eye 

Sees the world as one vast plain. 
And one boundless reach of sky. 

— H. W. Longfellow 



OROTUND. 143 

SAND OF THE DESERT IN AN HOUR-GLASS. 



A handful of red sand, from the hot clime 

Of Arab deserts brought, 
Within this glass becomes the spy of Time, 

The minister of Thought. 

How many weary centuries has it been 

About those deserts blown! 
How many strange vicissitudes has seen, 

How many histories known! 

Perhaps the camels of the Ishmaelite 
Tramped it and passed it o'er, 

When into Egypt from the patriarch's sight 
His favorite son they bore. 

Perhaps the feet of Moses, burnt and bare, 
Crushed it beneath their tread ; 

Or Pharaoh's flashing wheels into the air 
Scattered it as they sped; 

Or Mary, with the Christ of Nazareth 

Held close in her caress, 
Whose pilgrimage of hope and love and faith 

Illumed the wilderness. 

Or anchorites beneath Engaddi's palms 
Pacing the Dead Sea beach, 

And singing slow their old Armenian psalms 
In half-articulate speech; 

Or caravans, that from Bassora's gate 
With westward steps depart; 

Or Mecca's pilgrims, confident of Fate, 
And resolute in heart! 



144 ELOCUTION AS AN ART. 

These have passed over it, or may have passed! 

Now in this crystal tower 
Imprisoned by some curious hand at last. 

It counts the passing hour. 

And as I gaze, these narrow walls expand; 

Before my dreamy eye 
Stretches the desert with its shifting sand, 
Its unimpeded sky. 

And borne aloft by the sustaining blast, 

This little golden thread 
Dilates into a column high and vast, 

A form of fear and dread. 

And onward, and across the setting sun, 
Across the boundless plain, 

The column and its broader shadow run, 
Till thought pursues in vain. 

The vision vanishes! These walls again 

Shut out the lurid sun, 
Shut out the hot, immeasurable plain; 

The half-hour's sand is run! 

—H. IF. Longfellow. 

CHAPTER IX. 



Qualities of Voice. — Pure Tone. 

The phenomenon of voice and its articulation being 
understood, the first thing to be sought is the ability to 
make pure, clear tones. 

Pure tone is the clear, untainted quality of voice in 
healthy physical condition, preserved from a milder, 



PURE TONE 145 

softer, subdued form or that highest quality — the 
Orotund. 

To enunciate clearlv and carefully, to keep the breath 
moving regularly, to exercise a sparing economy in its 
emission, converting it into voice, is absolutely neces- 
sary to the formation of the soft and liquid quality of 
this tone. 

The best practice is upon words containing long 
vowels, as in the following; 

Long Sound of A, as in Fate, Aid, Lace. 

Occasional Sound of E, as in Ere, Also, EI in Feint. 

Ex. XXVI. — The patriots ate the apricots and pre- 
sented bracelets for latent patriotism, sapient magi 
and patriotic patrons who patronized or gave their 
patronage to the Caucasian race. They catered for 
the radiant stamens, salient, squalor and the halo 
gratis. The Malay matron tore the cambric and 
made a caret for «ghteen carat gold tiara which <?re 
a decade the hmious B^y will lay as a pr<?y in the 
Evrey and in grave ob<?/sance to the D<?y present 
with bouq//<?t at the matins. 

Long Sound of £, as in Mete, Seal, Fear, Keep. 

Occasional Sound of / and Y, as in Machine. 

Ex. XXVII. — He r^red from his theme and c/ieered 
the a^an whose zeal needed no heat to feel the <?vil 
which sacri/<?gious scheme would br^d. Cesar's 
^dict seared by the Edile leaves pre^dence to the 
league, and his eagles s///7>ked a pa'an on the lea. 
The Sheik's brard which preceded the <?poch of 
tnfmors streamed like a 7ueteor, and the egotist 
seemed pleased with his plenary /eisure. The people 
held the Jiend amiable for jeering his liege, and 
teased the police of the bastzZ? to seize the mandar/// 



146 ELOCUTION AS AN ART. 

for his caprice at the magazine, while the unique fi- 
nancier iatigued with his antique bombazine va/ise re- 
tried through the ravine and ate verdigw to 
reUcve the critique. 

Long Sound of /, as in Pine, Fine, File, Find. 

Strong Sound of Y, as in Ally, Magnify. 

This is one of the strong, stately and dignified sounds 
of our language, often much abused by attenuation. To 
obtain its fulness, open the teeth about half an inch, 
strongly as if pronouncing ah — and let the sound move, 
as the mouth closes, into e. Thus, ah — e, putting, as it 
were, a pompous egotism into the pronunciation. 

Ex. XXVIII. — The Gentiles oo/iged their canine and 
feline tribes to use quinine and iodide of iron with 
sac' char* ne //'lacs in their w/nes to expedite the cure 
of bron<r///'tis. The grindstone and carbine lie length- 
wise on the ho;/zon, and a t/'ny ler/'athan on the 
htv'ghths of A^r-dos, as//res to sigh through the mi- 
croscop'ic cai//'o-pe. The edile /i'kes spikenard for 
his mice that lie in t/V'ads down the aisle since the 
oi'nary digest of the chrys'o/ite was ///red as a tiara 
by the choir. The /ras'cible //in'erant became /Vate 
over the /v'og'raphy of ihe^/gantic /rpograph'ic /,/olat- 
or whose tVen'nial dilem'ma //v'mariiy presented the 
rdea as a en te'rion which would minify or mag'ni/V 
the power to proph'en' or rather the power of proph- 
ecy in Ju/j\ 

Long Sound of O, as in Note, Foal, Tow, Sore. 

Let the teeth be opened wide enough to insert the top 
of the forefinger, the mouth rounded and lips slightly 
protruded, the tongue kept flat. 

Ex. XXIX. — The old dose fr/ded his cloak and loth to 



PURE TONE. 147 

show his depth of woe broke slowly into joke about 
the vote that woke no hope. Th<?se p^les we st^le 
from the hollow, yeUo7v, wiUoza osier growing by the 
moat, and from the win-dow of the coach beheld the 
son<?Vous ywman hoe potatoes in a row. Job came 
home from Rome and p<?//red tallow over the bo/^gna 
resting on the biwch as a trophy before the iellow's 
nose. The beau stole the hautboy and Ram beaux 
from the bw'reau of the chateau, and sewed them in 
his port-man'taztf with the she7vbread and harrow of 
the plateau. 

Long Sound of O and Close, as in Move, Prove, Food. 

This sound is made with the teeth less widely open, 
and the lips more protruded than the former sound 0. 
Keep tougue flat in the. month. 

Ex. XXX. — The poor loon would undo his shoe in the 
boom, and soon grew rude as a bootless troubadour; 
the sooty courier acc<?//tred like a g^wr'mand stoops 
to gam'^ the goose for a douceur: by a^-de-main 
the y<?//thful zoozoo chases to woo the rueful Jew 
whose uncouth snood it behoves the moody ttf&rist to 
loop to his draping surtoul lest some booby shoot 
the bousy n^dle mooring his canoe to the moon, and 
like a goose berry fool receive his doom by a trous-de- 
loup. 

In all exercises pupils should be particular to secure 
true and exact pronunciation of words, pure and cor- 
rect sounds of the elements, such being absolutely essen- 
tial to good elocution, 

Refined pronunciation depends principally on the pure 
and correct sounding of the vowels and diphthongs in 
their syllabic arrangement. 



148 ELOCUTION AS AN ART. 

Distinctness, on the clear enunciation of the conso- 
nants. 

Long Sound of U, as in June, Tube, Suit, Plume. 
EW, Flew, Slew, New, Dew. 

No vowel in our language is so much abused as the 
long u, which in spite of the fact that no orthoepist 
or authority in English can be found to support this, is 
almost universally pronounced "00." Thus our law- 
yers talk of putting a note in soot; a teacher tells her 
scholars of their dooty ; our educated lady speaks of her 
woo hat or cloak ; a gossip asks what of the noose ; a mu- 
sician of the latest t^ne, and so for the rest. 



CHAPTER X. 



The Monotone. 



This may be considered rather as a character or con- 
dition than as a distinct quality of voice. Yet it has 
one special office, as below treated, and is, as an exer- 
cise, most beneficial and potent in its effects on the 
voice. The advantages arising from it cannot be over- 
rated, and depend much upon faithful, continued prac- 
tice, which should be started about middle register of 
voice and reduced at each repetition until barely audible. 
.Keep the mouth rounded, the tongue flat, uvula well 
raised, larynx depressed and a ///// volume of air passing 
through the well-opened glottis. Keep the tones always 
level, full and round, the vowels clear and pure in their 
enunciation, and free from fusion with the consonant 
sounds. Thus it is employed in solemnity, sublimity, 
reverence, awe, etc. 



MONOTONE. 149 

Ex. XXXI. — 

High-on-a-throne-of-ro-yal-state,-which-far 
Out-shone-the-wealth-of-Or-mus-and-of-Ind ; 
Or-whfcre-the-gor-geous-east,-with-rich-est-hand, 
Showers-on-her-kings-bar-ba-ric-pearl-and-gold, 
Sa-tan-ex-alt-ed-sat, 

This is one of the most effective exercises, and it is to 
be read slowly in syllabic divisions as here given. Let 
it be a standing practice. 

The monotone has its special province, the supernatural, 
being the only quality or character of voice employed in 
such impersonation or interpretation. Hence, readings 
like the following in prolonged and level tones form 
most effective practice. 

The dash line represents the monotone. 



Ghost. — I am thy father's spirit; 

Doomed for a certain term to walk the night, 



And, for the <}ay confined to fast in fires, 



Till the foul crimes, done in my days of nature 



Are burnt, and purged away. But that I am forbid 

To tell the secret of my prison-house, 

I could a tale unfold, whose lightest word 



\vould harrow up thy soul ; freeze thy young blood ; 
Make thy two eyes, like stars, start from their spheres, 
Thy knotted and combined locks to part. 
And each particular hair to stand on end, 



i 5 o ELOCUTION AS AN ART. 

Like quills upon the fretful porcupine: 
But this eternal blazon must not be 
To ears of flesh and blood: — List — List — O List! — 
If thou didst ever thy dear father love, 
Revenge his foul and most unnatural murder, etc. 

— Hamlet, Act i, Sc. 5. 

The voice, however, is confined to the rigid effusive 
only in the supernatural, where, as in the above example, 
it takes very little inflection or undulation. In truth, the 
confinement of the voice to one unchanging character is 
in itself evidence of the unnatural. 

It is from this fact that elocution through simple 
philosophy deduces the principle on which it is based. 

In solemnity, sublimity, reverence and the like, the 
monotone in its effusive and expulsive form is much 
employed. 



CHAPTER XI. 



The Orotund. 



Having had a fair practice in the foregoing- exercises 
for pure tone, etc., to which the pupil must occasionally 
return, it is most desirable to pursue its larger de- 
velopment, application and management in orotund. 

The instruction here is perhaps the most irn- 
luty of the teacher, certainly the most requisite 
study of the pupil. No greater mistake exists than the 
neglect of these preliminaries, and the teacher who sim- 
ply proposes the recitation of pieces without due culti- 
vation of voice, should be discarded. 

The orotund, which is onlv the more finished and en- 



MONO TO XE. 151 

larged pure tone, may be considered the true voice, of 
which all other qualities are modifications. 

To produce this quality in its perfection, demands the 
most thorough action of the vocal mechanism, the fullest 
pressure of the muscles, giving increased energy to the 
lungs, and forcing or propelling through the glottis into 
the fully expanded resonance chambers of the voice, the 
largest and most compact column of air. 

Being a combination of pure tone, volume and force, 
it is the true symbol of dignified and kindred emotions; 
the voice in which the mind is wont to issue messages 
of grandeur, sublimity and conscious power, the tone of 
eloquence high thought and fervor. It is the Voice of 
Oratory and the grandest quality of spoken sound. 

Read the following example in middle pitch of voice, 
breathing between each word and throwing stress of 
voice on diphthong sounds — Expulsive form. 

bounds of H, as in Heart, Hall, Hate, How, Had. 
Ex. XXXII.' — His ///^//-ness holds high his haugh-ty head 
and exhio-its Aim-self to the ///-larious horde who ex- 
hal-ted hearty hor-ror in the ////-mid hall. The hard 
heart-ed hedge-hog heed-less of his havoc of the house- 
wife's ham hies home-wards hap-py to have his head, his 
hands and his heart whole. The harm-less lu/m-ming 
bird /////-ties through the hot-house and ex-harts his 
ex- haust-ed hireling to hold his hob- by horse till har- 
vest home. Hold, hold, thy heart-\ess har-p'mg, 
hearsX. thou not his hur-r\ed hope-Xess hu -rnil-ity. 
Hold, and hie thee home- wards. 
Sound of broad A^ as in Fall, Haul, Walk, Warm. 

The splendor falls on castle walls and calls for shawls 
appalled the cow-ard hearts of all. His vavlt-ing 
daught-er haul-ed the dau-phin in the sauce -pan and 



152 ELOCUTION AS AN ART. 

thought the haugh-ty au-thor dined on nauseous sau- 
sages. The pal-try sauce-boy. iualtz-ed on Cau-c&sus, 
and the au-bwm pal-iry drew lau-re\ plau-dxts, a/-beit 
the naugh-ty dwarf got the groat through the fau-cet 
and taught hisfal-con to thwart the ?naw-Y\sh gaw-kzy 
if caught in «//-tumn. He crossed the saltwater in 
a squall and dfaz7#-ing his/#/-chion in.yto//-ed the ##- 
tocrat who talh-ed of naught but /jtfz/gvHily defraud- 
ing the green sward of its &z/-dric awn-ing. 

Pupils must bear constantly in mind that the selec- 
tions herein are voice-building exercises not readings. 

Now with full, strong breathing read in round, sonor- 
ous tones these lines of Henry V., Act 1, Sc. I. 

Orotund — Slow Time, Effusive and Expul. — Middle 
Pitch. 

King H. — My learned lord, we pray you to proceed 
And justly and religiously unfold 
Why the law Saliquc, that they have in France, 
Or should, or should not, bar us in our claim; 
And God forbid, my dear and faithful lord, 
That you should fashion, wrest, or bow your readings 
Or nicely charge your understanding soul „ 
With opening titles, miscreate, whose right 
Suits not in native colors, with the truth; 
For God doth know, how many, now in health,, 
Shall drop their /Wood, in approbation 
Of what your reverence shall incite us to. 
Therefore take heed, ho7c> you impawn our person. 
How you awake our sleeping sword of war: 
We charge you, in the name of God, take heed ; 
For never two such kingdoms, did contend. 
Without much fall of blood; whose guiltless drops 
Are, every one, a woe, a sore complaint 



OROTUND. 153 

'Gainst him whose wrong gives edge unto the 

swords 
That make such waste in brief mortality. 
Under this conjuration, speak, my lord; 
And we will hear, note and believe in heart 
That what you speak is, in your conscience, wash'd 
As pure as si 71 with baptism. 

The above example is chiefly effusive orotund, In the 
same quality, but with expulsive action, read the follow- 
ing from the same scene; the words of Henry after dis- 
missing in indignation the French ambassadors. 

High Pitch — Quick Movement. 

Exe. — This was a merry message. 

King H. — We hope to make the sender blush at it. 
Therefore, my lords, omit no happy hour 
That may give furtherance, to our expedition ; 
For we have now no thought in us but France, 
(Save those to God, that run before our business.) 
Therefore let our proportions for these wars 
Be soon collected and. all things thought upon 
That may, with reasonable swiftness, add 
More feathers to our wings; for, God before, 
We'll chide this Dauphin, at his fathers door. 

Occasional practice on Bryant's Thanatopsis will much 
improve the monotone and orotund. 

So live, that — when thy summons comes to join 

The innumerable Caravan that moves 

To the pale realms of shade, where, each shall take 

His chamber in the silent hall of death — 

Thou go, not like the quarry slave, at night, 

Scourged, to his dungeon; but — sustained and soothed 

By an unfaltering trust — approach v thy grave v 



154 ELOCUTION AS AN ART. 

Like one\ who wraps r the drapery^ of his couch^ 
Around him, and lies' down* to pleasant dreams". 

The whole field of oratorical literature furnishes prac- 
tice for the effusive and explosive, and occasional ex- 
plosive orotund, of which, however, the expulsive, with 
properly directed force and judicious use of rad., dim. 
and van. stress, is the chief element. 

The next is a fine example of dramatic oratory. 
Henry V., act iv, scene iii. Where entering the camp 
and overhearing remarks of the Duke of Westmoreland 
to the soldiers, which he fears may dispirit them, the 
king kindly and cheerfully remonstrates. 

Fullest Expul. Orotund, Rad. Stress, High Pitch, 
Time Moderate and Quick. 

West. — O that we now had here 

But one ten thousand of those men in England 
That do no work to-day! 

King H. — > What's he that wishes so? 

My cousin Westmoreland? No, my fair cousin : 

If we are mark'd, to die\ we are enow 

To do our country Joss; and if to liz'e^, 

The fewer men — the greater share of honor, 

God's will! I pray thee, wish not one man more. 

By Jove, I am not covetous for gold, 

Nor care I who doth feed upon my cost; 

It yearns me not, if men my garments wear; 

Such outward things dwell not in my desires: 

But if it be a sin to covet honor, 

I am the most offending soul alive. 

No, faith, my coz. wish not a man from England : 

God's peace' I would not lose so great an honour 

As one man more, methinks, would share from me 

For the best hope I have. O, do not wish one more! 



OROTUND. 155 

Rather proclaim it, Westmoreland, through my host, 

That he, who hath, no stomach to this fight, 

Let him depart; his passport shall be made 

And crowns for convoy ', put into his purse. 

We would not die, in that man's company 

That fears his fellowship to die with us. 

This day is called the feast of Crispian; 

He that outlives this day, and comes safe home, 

Will stand a tip-toe, when this day is named, 

And rouse him at the name of Crispian. 

He that shall live this day, and see old age, 

Will, yearly, on the vigil, feast his neighbors, 

And say, "To-morrow is Saint Crispian." 

Then will he strip, his sleeve, and show, his scars, 

And say, " These wounds I had on Crispin's day." 

Old men forget; yet all shall be forgot, 

And he'll remember with advantages 

What feats he did, that day; then, shall our names, 

Familiar in their mouths as household words, 

Harry, the king, Bedford and Exeter, 

Warwick and Talbot, Salisbury and Gloucester, 

Be, in their flowing cups, freshly remember d. 

This story, shall the good man, teach his son; 

And Crispin Chrispian shall ne'er go by, 

From this day to the ending of the world, 

But we, in it, shall be remembered; 

We few, we happy few, we band of brothe/s, 

For he to-day, that sheds his blood with me, 

Shall be my brother; be he ne'er so vile, 

This day shall gentle" his condition. 

And gentlemen, in England, now, a-bed, 

Shall think themselves, accursed, they were not here, 

And hold their manhoods cheap while any speaks 

That fought with us upon Saint Crispin's day. 



156 ELOCUTION AS AN ART. 

Tennyson's glorious dithyrambic is generally misin- 
terpreted. The first four verses of the first stanza are 
plain statement of fact. Then follow the words of 
Capt. Nolan, who brings from the staff to Lord Lucan 
an order to advance. Lucan, in suprise, asks "whither," 
and Nolan, repeating the instructions, points towards 
the guns. This order Lucan now delivers to Lord 
Cardigan, commanding " the Brigade," as instructions 
sent. These are received and misapprehended, and 
here the poet assumes "some one had blundered." 

In the first line, second stanza, use the explosive oro- 
tund with thorough stress and high pitch, for there 
command is first heard. 

I. 

Half a league, half a league — 
Half a league onward, 
And in the valley of death 

Rode the six hundred. 
"Forward the Light Brigade, 
Charge for the guns," he said. 
Into the valley of death 

Rode the six hundred. 

II. 

"FORWARD the LIGHT BRIGADE! " 
Was there a man dismay 'd? 
No! though the soldier knew 

Some one had blunder d : 
Theirs, not to make ref>ly\ 
Theirs, not to reason v,V/r\ 
Theirs, but to do and d/e\ 
Into the valley of death 

Rode the six hundred. 



OROTUND. 157 

III. 

Cannon to right of them, 
Cannon to left of them, 
Cannon in front of them,' 

Volley 'd and thunder d 
Storm'd at with shot and shell, 
Boldly they rode and well. 
Into the jaws ot death. 
Into the mouth of hell 

Rode the six hundred. 

IV. 

Flash V all their sabres bare, 
Flash'd as they turn din air, 
Sab'ring the gunners there, 
Charging an army, while 

All the world wonder d : 
Plundged in the battery-smoke, 
Right through the line they broke; 
Cossack and Russian 
Reeled from the sabre-stroke 
Shatter d and sunder d, 
Then — they rode back, but — not 

Not the six hundred. 



V. 



Cannon to right of them, 
Cannon to left of them, 
Cannon behind them 

Volley'd and thunder'd ; 
Storm'd at with shot and shell, 
While horse and hero fell, 



158 ELOCUTION AS AN ART. 

They that had fought so well 
Came, through the jaws of death, 
Back from the mouth of hell, 
All that was left of them ; 
Left — of six hundred. 

VI. 

When — can their glory fade t 

O THE WILD CHARGE THEY MADE ! 

All the world wonder'd. 
Honor the charge they made, 
Honor the Light Brigade, 

Noble six hundred! 



CHAPTER XII. 



Guttural Tones. 



These tones are called impure, as they are employed to 
convey negative forms of thought. The mind of a 
strong, passionate nature, influenced by aversion, deep 
displeasure, extreme impatience, anger, disgust, contempt, etc. , 
throws upon the voice negation of thought that changes 
the quality of expression by such modification of the 
orotund as destroys its purity and smoothness. 

To exercise and cultivate this quality, let the mind 
assume unpleasant condition which will aid in the arrange- 
ment of the organs as above described. Then as the 
tone is cynical, take this single word, its cognate thought, 
cur, and practise with a harsh smothered voice — cur-r-r-r .' 

In the following exercise the small capitals represent 
the guttural. 



GUTTURAL. 159 

Henry V, act, i, sc. ii. — The King to French ambas- 
sadors on discovering the insult offered in presentation 
of tennis balls. 

Dignified, Expulsive, Guttural, Orotund. 

Ex. XXIII.— ( With Irony.)— 

K. Henry. — We are glad the Dauphin is so pleasant 
with us; 
His present and your pains we thank you for: 
When we have matclid our rackets to these balls, 
We will, in France, by God's grace, play a set 
Shall strike his father's crown into the hazard - 
Tell him he hath made a match with such a wrang- 
ler 
That all the courts of France will be disturb'd 
With CHACES. 

Henry V, act iii, sc. vi. — The King's reply to French 
herald who comes proposing ransom. Chiefly expulsive, 
orotund — with guttural, on words in small capitals. 
[With Sarcasm.) — 

K. Hen. — What is thy name'? I know v thy quality\ 

Mont. — M o n t j o y . 

K. Hen. — Thou dost thy office— fairly. Turn thee back, 
And tell thy king I do not seek him now; 
But could be willing to march on to Calais 
Without impeachment : for, to say the sooth, — 
Though 'tis no wisdom to confess so much 
Upon an enemy of craft and vantage, — 
My people are-with sickness-much enfeebled' 
My numbers lessened, and those few' I have' 
Almost no better than so many — French; — 
Who, when they were in health, I tell thee herald, 
I thought upon one pair of English legs 
Did march three Frenchmen. Yet, torgive me God, 



i6o ELOCUTION AS AN ART. 

That I do brag thus! This your air of France 

Hath blown that vice in me: I must repent. 

Go, therefore, tell thy master here I am; 

My ransom is this frail and worthless trunk, 

My army but a weak and sickly guard; 

Yet, God before, tell him we will come on, 

Though France himself and such another neighbor 

Stand in our way. There's for thy labour, Montjoy. 

Go, bid thy master well advise himself; 

If we may pass, we will; if we be hinder'd, 

We shall your tawny ground with your red blood 

Discolor: and so, Montjoy, fare you well. 

The sum of all our answer is but this: 

We would not seek a battle, as we are; 

Nor, as we are, we say we will not shun it : 

So tell your master. 

For other examples see "Merchant of Venice," act I, 
sc. iii, dialogue between Shylock and Bassanio. Also 
Norfolk's speech in "Richard II." act I, sc. I. 



CHAPTER XIII. 



Pectoral Quality 



This condition or character of voice differs in its 
formation, or physiology, so little from the guttural as 
to make it questionable whether it should be considered 
a separate, or distinct, quality. 

It is formed as the guttural in the throat, and by the 
same action of the cords and other organs. It differs 
mainly therefrom by its resonance deeper down in the 
bronchial tubes or upper portion of the chest. 



OROTUND. 161 

Thus it would interpret repulsive horror, revenge or 
threatening. 

It is always properly associated with low pitch. 

It is exemplified in these lines of'King John," Act iii, 
Scene iii, suggesting to Hubert the murder of young 
Arthur. The words in the first speech are characterized 
by aspirate orotund in tones just above the whisper. 
Those in the second speech are succeeded by deep pec- 
toral, beginning: "If the mid-night bell." The whole 
somewhat broken and disjointed, as men speak when 
plotting and "feeling their way" to another's acquies- 
cence. 

Ex. XXIV.— 

K. John — Come hither, Hubert. O my gentle Hubert, 
We owe thee much! Within this wall of flesh 
There is a soul, counts thee, — her creditor, 
And with advantage means to pay thy love: 
And, my good friend, thy voluntary oath 
Lives — in this bosom, dearly cherished. 
Give me thy hand. / had a thing to say 
But — I will fit it, with some better time — 
By heaven, Hubert, I am almost ashamed 
To say what good respect I have for thee. 

Hub. — I am much bounden to your majesty. 

K. John. — Good friend, thou hasi, no cause to say so yet: 
But, thou sha/t have; and creep time ne'er so slow, 
Yet it shall come — for me to do thee good. 
I had a thing to say, but — let it go: 
The sun is in the heaven, and, the proud day, 
Attended w r ith the pleasures of the world, 
Is all too wanton, and too full of gawds 
To give me audience. If the midnight bell 
Did, with his iron tongue and brazen mouth, 



i6 2 ELOCUTION AS AN ART. 

Sound on into the drowsy race of night; 
If — this same were a churchyard where we stand. 
And thou possessed, with a thousand wrongs, 
Or — if that surly spirit, melancholy, 
Had baked thy blood, and made it heavy-thick, 
Which else runs tickling up and down the veins, 
Making that idiot, laughter, keep men's eyes 
And strain their cheeks to idle merriment, 
A passion hateful to my purposes; 
Or, if that thou couldst see me without eyes, 
Hear me without thine ears, and make reply 
Without a tongue, using conceit alone, 
Without eyes, ears and harmful sound of words; 
Then — in despite of brooded watchful day — 
I would into thy bosom, pour my thoughts : 
But, ah, I will not ! yet I loz'e thee well; 
And by my troth, I think thou lovest zwwell. 
Hub. — So well, that what you bid me undertake, 
Though my death were adjunct to my act, 
By heaven, I would do it. 



CHAPTER XIV. 



The Aspirate. 



The most malignant as well as the most generous 
passions of our nature find expression in the aspirate, 
which in general cases we would seek to avoid. It is 
an impure quality, akin to the guttural and whisper, 
coming as it were between them, and next in attenuated 
quality to the latter. It becomes comparative excellence 
in the interpretation of hate, aversion, fear, anger, frenzy, 
horror and the like passions. 

The whisper is the basis or a form of the aspirate, and 



ASPIRATE. 163 

gives best preliminary practice under proper selections 
both for the cultivation of this quality, and for strength- 
ening the voice. 

Practice, in strong whisper, short exercises containing 
aspirate //. 

Ex. XXV. — He ^<?ard horrWAe howls, hallooing, help, 
/z<?lp, Mp! What, ho, there! halloo, hal\oo\ a 
thousand hands //<?ld hard and heavy over-head, and 
/z<?arts have hoped 'gainst hope for home. 

The following mark its subdued malignant form in 
whisper tones. 

Macb. — I have done the deed. Didst thou not hear a noise? 
Lady M. — I heard the owl scream and the cricket cry. 

Did not you speak? 
Mab. — When ? 
Lady M. Now. 
Macb. — As I descended ? 
Lady M. — Ay. 
Macb. — Hark ! 

Who lies i ' the second chamber ? 
Lady M. — Donalbain. 
Macb. — This is a sorry sight. [Looking on his hands.] 

There's one did laugh ins sleep, and one cried " Murder 7" 

That they did wake each other: I stood and heard 
them : 

But they did say their prayer?, and address'd them 

Again to sleep. 

The aspirate is sometimes expressive of intense joy, 
sorrow-, grief, fear, etc., after the manner of the tremor. 
Sudden Fear. — "Lalla Rookh." 

Aspirated Pure Tone and Orotund. Expulsive radical 
stress. Impassioned Force — Tremor. 



164 ELOCUTION AS AN ART. 

"(9 not for worlds.'" She cried. "Great God! to whom 

I once knelt innocent, is this my doom 

Are all my dreams, my hope of heavenly bliss 

My purity, my pride, then come to this? — 

Horror and Awe. — Macbeth at sight of Banquo's 
ghost at the feast. "Macbeth, Act iii, Sc. v." Explo. 
and Expul. Aspirated Orotund. Van. and Rad. Stress. 
Macb. — Avaunt ! and quit my sight! let the earth hide 
thee! 
Thy bones are marroivless, thy blood is cold; 
Thou hast no speculation in those eyes 
Which thou dost glare with! 
Lady M. — Think of this, good peers, 
But as a thing of custom: 'tis no other; 
Only it spoils the pleasure of the time. 
Except in the whisper, which is the simple aspirate, it 
is never used alone — always combining with some other 
quality to which it gives coloring shades, intensity, etc. 
It is most frequently associated with guttural out of 
which it generally rises. A fine example of this ten- 
dency and growth is exhibited in Act i, Sc. i, "King 
Lear." 

Most impassioned force, aspirated guttural, intense aspirate. 

Lear. — Kent, on thy life, no more. 

Kent. — My life I never held but as a pawn 

To wage against thy enemies; nor fear to lose it. 
Thy safety being the motive. 
Lear. — Out of my sight! 
Kent. — See better, Lear; and let me still remain 

The true blank of thine eye. 
Lear. — Now, by Apollo, — 
Kent. — Now, by Apollo, king. 
Thou swear'st thy gods in vain. 



ASPIRATE. 165 

Lear. — O, Vassal! Miscreant! [Laying his hand 

on his sword. ] 
Kent. — Do; 

Kill thy physician, and the fee bestow 

Upon the foul disease. Revoke thy doom; 

Or, whilst I can vent clamour from my throat, 

I'll tell thee thou dost evil. 
Lear. — Hear me, Recreant! 

On thine Allegiance, hear me! 
Away! by Jupiter, this shall not be revoked. 



The Baron's Last Banquet. 



The first verse, simply narrative, employs the unim- 
passioned Expul. Orotund. The second opens with the 
thought of opposition to the supposed intimation of his 
death, using rising slides and guttural tones slightly as- 
pirated. The others, to seventh, alternate between oro- 
tund and ' aspirated orotund, expulsive and thorough 
stress, and from seventh to the end occasional orotund 
and strong aspirate. 

O'er a low couch the setting sun had thrown its latest ray, 

Where, in his last strong agony, a dying warrior lay, — 

The stern old Baron Rudiger, whose frame had ne'er been 

bent 
By wasting pain, till time and toil its iron strength had spent. 

"They come around me here and say my days of life are o'er, — 
That / shall mount my noble steed and lead my band no more; 
They come, and, to my beard, they dare to tell me now that /, 
Their own liege lord and master born, that / — ha! ha! — must die, 

''And what is death ? I've dared him oft, before the Painim spear; 
Think ye he's entered at my gate — has come to seek me here? 
I've met him, faced him, scorn' d him, when the fight was raging 

hot;— 
I'll try his might, I'll brave his power! — defy, and fear him not! 



i66 ELOCUTION AS AN ART. 

"Ho! sound the tocsin from my tow:)', and fire the culverin^ 
Bid each retainer arm with speed, call every vassal in 
Up with my banner on the wall, — the banquet board prepare, — 
Throw wide the portals of my hall, and bring my armor there?' 

A hundred hands were busy then: the banquet forth was spread, 
And rung the heavy oaken floor with many a martial tread; 
While from the rich, dark tracery, along the vaulted wall, 
Lights gleam'd on harness, plume and spear, over the proud 
old Gothic hall. 

Fast hurrying through the outer gate, the mail'd retainers 

pour'd 
On through the portal's frowning arch, and throng'd around 

the board; 
While at its head, within its dark, carved, oaken chair of state, 
Arm'd cap-a-pie, stern Rudiger, with girded falchion, sate. 

"Fill every beaker up, my men! — pour forth the cheering wine\ 
There's life and strength in every drop, — thanksgiving to the 

vine! 
Are ye all there, my vassals true?— mine eves are waxing 

dim; 
Fill round, my tried and fearless ones, each goblet to the brim! 

"Ve're there, but yet I see you not! — draw forth each trusty 

sword. 
And Jet me hear your faithtul steel clash once around my board! 
I hear it faintly: Louder yet! JThat clogs my heavy breath ? 
Up, all!— and shout for Rudiger: Defiance Unto Death!" 

Bowl rang to bowl, steel clang'd to steel, and rose a deafening 

cry, 
That made the torches flare around, and shook the flags on high : 
"Ho! cravens! do you fear him? Slaves! Traitors! have ye 

flown ? 
Ho ! cowards, have ye left me to meet him here alone ? 

"But I defy him! — Let Him Come!'' Down rang the massy cup, 
While from its sheath the ready blade came flashing half-way 
up; 



ASPIRATE. 167 

And, with the black and heavy plumes scarce trembling on his 

head, 
There, in his dark, carved oaken chair, old Rudiger sat — dead! 

— Albert G. Greene. 



The following selection, *' Marino Faliero." Act v, Sc. 
iii, offers fine practice for the voice almost throughout 
its entire range and qualities; from the narrative through 
the explosive orotund, guttural and aspirate, with tran- 
sitions well marked. 

Doge. — So, now-the Doge-is nothing, and at last 
I am again — Marino Faliero: 
'Tis well-to be so. -though but for a moment. 
Here I was crovvn'd, and here, — bear witness, HeavenX 
With how much more contentment I resign 
That shining' mockery', the ducal' bauble, 
Than I received the fatal ornament\ 

One of the Ten. — Thou tremblest, Faliero! 

Doge. — 'Tis with age, then. 

Benintende. — Faliero! hast thou aught further to com- 
mend, 
Compatible with justice to the senate? 

Doge. — I would commend my nephew^ to their mercy, 
My consort to their justice; for methinks 
My death, and such a death, might settle all 
Between the state and mc. 

Benintende. — They shall be cared for; 

Even notwithstanding thine unheard-of crime. 

Doge. — Unheard oil — Aye, there's not a history 
But shows a thousand crown d conspirators 
Against the people ; but to set them free 
One sovereign, only died, and one is dying. 

Benintende. — And who are they who fell in such a cause? 



168 ELOCUTION AS AN ART. 

Doge. — The King of Sparta, and the Doge of Venice — 

Agis and Faliero! 
Benintende. — Hast thou more 

To utter or to do? 
Doge. — May I speak ? 
Benintende. — Thou may'st; 

But recollect, the people are without, 

Beyond the compass of the human voice. 
Doge. —I speak to Time and to Eternity. 

Of which I grow a portion, not to man. — 

Ye elements! in which to be resolved 

I hasten, let my voice be a spirit 

Upon you! Ye blue waves! which bore my banner! 

Ye winds! which fluttered o'er as if you loved it, 

And filled my swelling sails, as they were wafted 

To many a triumph! Thou, my native earth, 

Which I have blediox, and thou, foreign earth. 

Which drank this willing blood from many a wound J 

Ye stones', in which my gore will not sink, but — 

Reek' up to Heaven'! Ye skies, which will receive' it! 

Thou sun'! which shinest on these things, and Thou! 

Who kindlest and who quenchest suns! — Attest ! 

I am not innocent' — but are these guiltless'? 

I perish, but-not unavenged ; — far ages 

Float up from the abyss of time to be. 

And show these eyes, -before they close, -the doom 

Of this proud city,-and-I leave my curse 

On her and hers forever. 



HARMONY OF THOUGHT AND EXPRESSION. 
CHAPTER XV. 



Harmony of Thought and Expression. 



Language ought to correspond to subject; heroic 
actions call for heroic expressions; great, require terms 
effective and strong; those of every day life may be ten- 
der, affectionate or earnest, as the mode of action varies: 
where language is not suited to the action, we are sen- 
sible of incongruity. 

Concordance between thought and word-expression is 
a beauty recognized by every good writer, and utilized 
by every Elocutionist. In thought, we have some parts 
closely connected, others slightly, others disjointed, and 
perhaps, a few directly opposite. 

To satisfy these conjunctions and disjunctions is nec- 
essary; when the satisfaction is correct, the result is 
beauty. Thus, if we speak of the union of the soul with the 
body, we say soul and body, because the omission of the 
particle the, relating to both, forms a connection in ex- 
pression resembling that in thought; but if we would 
separate them, we say, the soul and the body; here 
disjunction in words resembles disjunction in thought. 

Resemblance between sounds of certain words and 
their signification is also a beauty every critic has ob- 
served, and each Elocutionist employed. Frequently ar- 
ticulate sounds are made to resemble those that are in- 
articulate, as the hiss of the arrow; e. g. : 

"The string let fly 

Twang' 'd short and sharp like the shrill swallow's cry." 

Again the sound of falling trees: 

"Then rustling, crackling, crashing, thunder down." 
- No resemblance really exists between sound and mo- 



170 ELOCUTION AS AN ART. 

tion ; sound and sentiment, yet we are coyed into belief 
in this resemblance by artful pronunciation — the part of 
the Elocutionist. 

Difference in tone may produce variety of interpreta- 
tion. The tone of the interpreter may be elevated or 
low, gentle or harsh, lively or melancholy, to accord 
with sentiment; this accord must be distinguished from 
that which exists between sound and sense, which in 
most cases is independent of expression, AcqovA is 
poets' work; ^//cord, Elocutionists'. 

Resembling causes may produce effects that have no 
resemblance and vice versa. We are sensible of the har- 
mony between musical tones and the sentiment which 
they accompany, yet no real resemblance exists between 
the words and the sounds. We have many instances in 
which the sound of the word gives an idea of the action 
of the thing it represents; thus: running, rapidity, 
snow, rain. The first two formed of short syllables, 
quickly pronounced, are expressive of their action; the 
second, of the soft sibilant, resembles its substance no 
less than its action; the third, beginning with a rough 
r, followed by a vowel, is also indicative of its action. 

Take the word little, pronounced with a small aper- 
ture of the mouth, it has a weak sound, in harmony with 
its signification, and according to the speaker's tone, 
most suggestive! 

This resemblance between sentiment and sound is still 
more marked when a number of words are connected in 
a period : as words pronounced in succession make a 
strong impression, and when this accords with sense we 
are sensible of a more pleasant emotion, produced by 
the harmony between sentiment and sound, — which is 
carried in the mind to a full melodic close. 

Proceeding to particulars, and beginning with emo- 



VERSIFICATION. 171 

tions that have the strongest resemblance, we observe, 
first, a number of syllables uttered with velocity as re- 
quired by expression of sentiment, is like to that raised 
by successive motion, since the term movement as em- 
ployed by Saxons, is applicable to both. Thus, walking, 
running, galloping can be imitated by short syllables; 
slow motion by long syllables; monosyllables become 
necessarily laborious, because of the frequency of pauses; 
second, rough sounding syllables impress rough and 
tumultuous motion, while smooth sounds resemble 
gentle motion; third, prolonged motion is denoted by 
slow syllables or spondees. When climax of sound com- 
bines with climax of sense, concordance becomes de- 
lightful; to produce this, artful pronunciation maybe 
frequently employed. 

To give a just idea of such pronunciation, we must 
distinguish it from singing. The latter is produced by 
notes, requiring a different aperture of the windpipe; the 
former, by apertures of mouth -without varying the ap- 
erture of the windpipe. In reading, as in singing ,we 
have a key-note; above this note we have rising inflec- 
tion; below it falling inflection; on its level, rest — hence 
cadence. Generally pronunciation must be subject to 
emotion, sentiment or passion. 



CHAPTER XVI. 



Versification. 



NOTE. — We introduce these Chapters on Versification for the 
benefit of any student who may not have gone through a course of 
Rhetoric and who, consequently, may know very little about poetic 
metre or technique. Every Elocutionist knows that scanning and 
pauses are grand aids for phrasing and expression. 



172 ELOCUTION AS AN ART. 

Poetry is the expression of emotion, caused by passion, 
colored by imagination and thrown into rhythm by im- 
mediate action of the mind: supposed to verify the 
principles of goodness, beauty and truth. This verifica- 
tion we believe to be the essence of poetic sentiment, 
whether expressed in prose or verse. The music of verse, 
though intimately connected with human thought, is 
subject to many rules, which require nice and delicate 
taste to distinguish their degree of melody and to define 
their precise limits; yet we think the true poet never 
gives much attention to laws, nor does he, while the 
spell is on him, determine whether his thought flows in 
Iambic, Trochai or mixed measures, — this comes after- 
wards. Laws of measurement are hand-maids of reason 
and experience, not children of spontaneity, which, as 
the flower of the field, springs up without question of 
how and where and delights us with its bloom. If the 
poet lay his plans beforehand, schedule his work and 
build, — his fabric is subject to art guided by rules, more 
than by pulsation and sentiment. This artificial mode of 
expressing sentiment satisfies our sense of melody, hence 
increases the charm of poetic number. 

Versification, (making verses) comes from a Latin 
term signifying to make. 

Some writers think vertere refers to the action of 
the pen, which, at the close of each line, reverts to begin 
a new one; others that it signifies the turning of words 
from a literal to a figurative sense. This difference in 
the definition of the term does not enter into our work; 
students may choose which they will. 

Nations, whose language and pronunciation were of a 
musical kind, rested their versification on quantities, /. e. t 
the shortness or length of their syllables. Others who 
did not make the quantities of their syllables so discern- 



VERSIFICATION. 173 

able, rested the melody of their verse upon the number 
of syllables, the proper disposition of accents and pauses, 
and frequently on the return of corresponding sounds, 
which we call rhyme. The former was the practice of 
the Greeks and Romans; the latter is the practice with 
us and with most modern languages. Among Greeks 
and Romans, almost every syllable was known to have a 
fixed quantity, that pronunciation rendered sensible to 
the ear, hence a long syllable equaled in time of utter- 
ance two short syllables. 

Latin hexameter verse varies; it may contain 17 sylla- 
bles, when regular not less than 13; but the musical 
time is always the same and never less than 12 long syl- 
lables. It may be scanned by six metrical feet, which 
may be either dactyl s or spondees, as the time of both 
is similar, with this distinction, the fifth foot must be a 
dactyl and the last a spondee. 

These feet would not correspond with the genius of 
English verse. The musical arrangement of terms when 
consisting of long and short syllables the Greek called 
rhythmus, the Latins, Humerus, and we, melody or measure. 
This measure we also find in English prose, but with a 
less marked musical effect. 

We speak of the harmony of sentences, and we are 
right in the application of the term, although harmony in 
sounds refers to co-existing tones, while melody applies 
to succession of tones, and artfully speaking verse can 
reach the latter, not the former — yet sentiment recog- 
nizes both and we admit its recognition. 



174 ELOCUTION AS AN ART. 

CHAPTER XVII. 



Quantity, Accent and Rhythm. 



Were we to enter into the rules laid down for the great 
variety of English verse, our work would be endless; we 
therefore confine ourselves to a few that, with proper 
management, may be applied to many kinds. We 
premise that poetry in general must have five qualities; 
three proper, two accidental, or contingent. 

The Proper are, ist — the number of syllables that 
compose a verse line; 2nd — the different lengths of syl- 
lables or accentuation : 3rd — the arrangement of these 
syllables. 

The Accidental are, TSt — the pauses, 2nd — the in- 
flections. 

The Syllable. — Every syllable in a word or sentence 
has two relations; ist — the time of pronunciation, 
quantity; 2nd — the force of pronunciation, accent, which 
for words of more than one syllable may be divided into 
primary, marked by the macron ( — ) long, and secon- 
dary, marked by the breve (^) short. In verse, words of 
one syllable may be either, provided the macron does 
not fall on a particle; as, the, an, for, in, etc. Accentua- 
tion is better adapted to the genius of our tongue than 
quantity; accent is definite ; quantity, ///definite; hence 
the syllabic proportion of the classics, two breves (^ — ) 
to one macron ( — ) does not hold in English. 

Orthoepists employ the terms long and short to denote 
the time of a vowel; prosodians that of a syllable: this 
gives rise to error. A vowel sound of itself may be 
short, that of the syllable in which it has place long, and 
vice versa. 



Q UANTITY, A CCENT AND RHYTHM 1 7 5 

Quantity depends upon utterance: thus, in far, fern, 
bird, etc., the vowel is short, the syllable long, because 
of the relative consonant sounds. \Ve have no compre- 
hensive rules for quantity: Coppens suggests the follow- 
ing: 

First, a syllable having a long vowel or diphthongal 
sound when closed by one or more consonants is long; as, 



loud, dry. warm, flashed, etc. 

Second, a syllable having a short vowel sound, but 
closed by consonants that retard pronunciation is long; 



as, vast, weight, throw. 

Third, a syllable ending in a short vowel sound is 



short; as, the, an, to, charity. 

Fourth, an unaccented syllable is short by contrast 



as, heavenward, banishment. 

Fifth, a particle that governs a noun; as, at war, in 

peace, on sea. 

The quantity and accents of metrical syllable are dis- 
tinctive aids to melody, and when complementary, very 
effective: the first affects sentiment and imparts beauty; 
the second reason, and enhances strength, e. g. : 

Quantity: — "This world is all a fleeting show, 
For man's illusion given; 
The smiles of joy, the tears of woe, — 
Deceitful shine, deceitful flow: 
There's nothing true but Heaven." — Moore. 

Accent: — "In their ragged regimentals 



1 76 ELOCUTION AS AN ART. 

Stood the old Continentals, 

Yielding not, 
When the Grenadiers were lunging. 
And like hail fell the plunging 

Cannon — shot; 

When the files 

Of the isles 
From the smoky night encampment, 
Bore the banner of the rampant 

Unicorn. 
And grummer, grummer, grummer, 
Rolled the roll of the drum, 

Through the morn." — G. H. McMaster. 

Rhythm is the measured tread of accented and unac- 
cented syllables in verse; feet are groups of such sylla- 
bles, combined in relation to the position of the accented 
syllable. 

Feet of Two Syllables. — Four Combinations. — Spon- 
dee ( )from the Greek, having two syllables accented. 

Pyrrhic, ("-^^- ') Greek, having two unaccented syllables. 

Trochee, ( — ^) Greek, havino- the first syllable accent- 
ed, the second unaccented. 

Iambus,{y^ — ) Greek, having the first syllable unaccent- 
ed, the second accented. 

Feet of Three Syllables. — Eight Combinations. — We 
give the three commonly used. 

Amphibrach. — Greek, having the middle syllable ac- 
cented; as, incumbrance. 

Dactyl. — Greek, having the first syllable accented; 

as, satisfy, purify. 



VERSE. SPECIFIC NAMES. MEASUREMENT. 177 
Anapest. — Greek, having the last syllable accented; 

as, interdict. 

Feet are divided into Principal and Secondary. The 
principal are of five kinds: 

Trochee T^ 

Iambus ^ — • 

Spondee • 

Dactyl — w ~^-'- 

Anapest ^ _ " > -*' — • 

All the other measures are secondary. A poem may 
be formed of any of the primary feet alone, or they may 
be mixed with other measures, either primary or sec- 
ondary; but a poem cannot be formed of secondary feet 
alone. Although a trochee is but an iambus reversed, still 
it is quick and lively, while the latter is stately and 
proud. The anapest, the reverse of the dactyl, is more 
majestic than the iambus, while the dactyl is quicker than 
trochee. 



CHAPTER XVIII. 



Verse. Specific Names. Measurement 



A verse is a line made up of a certain number of feet. 
The term comes from the Latin, vertere, to turn, because 
the pen, at the close of each line, reverts to begin a new 
one. Its specific name comes from the kind of feet that 
predominate in its combination. In length verses may 
extend from one foot to eight feet. Those of seven feet 
are generally written in two lines, while those of two or 
three feet are by all writers of taste combined with 
others of greater length. Cardinal Newman instances 
this in his "Dream of Gerontius." 



ry8 ELOCUTION AS AN ART. 

The length of a verse is indicated by a Greek numeral 
compounded with the term nieter, from the Greek metron, 
a measure or standard. 

A verse of one foot is termed monometer, (/nonos, one) ; 
and metron, measure; of two feet, dimeter \ three feet, tri- 
meter; four feet, tetrameter; five feet, pentameter ; and so 
on. 

When verses are not exact monometer s, dimeters, etc. — 
that is when they have a syllable either over or under 
that required by the measure, they are styled catalectic^ 
hypercatalectic or hypermeters. 

Acatalectic has the full round number of feet. 



"To stain | my life | less face." 
Catalectic. — Wanting a syllable; as, 



"Sweet was its | blessing. 
Hypermeter. — Contains a syllable beyond the measure 



as, " Summer and | mirth | . 

The English hexameter verse, as a rule, is written in 
two trimeters, or in a tetrameter and dimeter; the kept a meter, 
in a tetrameter and trimeter, or in a pentameter and dimeter. 
Examples. — Seven Feet: — 

"Look on | the chil | dren of | our poor | on man- | 

y an Eng | lish child, 
Better that it had died secure by yonder river wild." 
First and third lines, four feet; second and fourth, 
three feet. 

Divided:— "Look on | the chil | dren of | our poor 
On man | y an Eng j lish child | , 
Better | that it | had died | secure 
By yonder river wild." — Laudon. 



VERSE. SPECIFIC NAMES. MEASUREMENT. 179 

Again, take an odometer acatalectic trochaic verse : 

"And the only word there spoken was the whispered 
word, 'Lenore!' " 

Divided: — "And the only word there spoken 
Was the whispered w T ord, 'Lenore! ' " — Poe. 

To avoid monotony, we are allowed to mix primary 
and secondary feet. Verses composed of one species of 
feet are termed pure; those of two or more species, 

MIXED. 

For combining feet, we have no fixed rules; delicacy 
of taste and correctness of ear, with exact study of num- 
bers, must direct an author's choice. 

Spondees are admitted into iambic, trochaic and ana- 
pestic measures, e. g. : 



Iambic: — "I had | a dream | a strange j wild dream." 



Trochaic: — "Sixty pillars | each one | shining." 



Anapestic: — " Sweet vale of Avoca, how calm could I 

rest." 
The Py?'rhic is employed in iambic and trochaic meas- 
ure, eg.: 

Iambic: — "Or ear | ly in | the task to die." 

Trochaic: — ,, Then the | forms of | the de | parted 

Enter | at the | open door." 
Pyrrhic in the first part of an Iambic verse and ^spondee 
in the second, give a pleasing variety, e. g. : 



'''And the j loud laugh J that spoke the vacant mind. 



i8o ELOCUTION AS AN ART. 

The Tribrach is combined with the Iambic : 

"His country's suf | fei-ing and j his children's shame." 
The judicious intermixture of secondary feet in 
a verse, has a fine result, but the combining of the various 
principal feet is much more beautiful and effective. 

I. Iambic verses admit the trochee into every foot ex- 
cept the second and last, where the trochee would be 
inharmonious. The happiest place for the trochee or 
spondee is the first foot. 

II. Trochees admit the dactyl; and vice versa. Pure 
dactylic verses are rare. 
III. A very ordinary variety is formed by mixing 
iambuses and a napests — see "Gray's Elegy." An iam- 
bic verse may open with an anapest, and vice vsrsa. 



CHAPTER XIX. 



Rhyme. 



Rhyme, or relative correspondence in sound, is not 
essential in poetry, yet on account of its melodic effect 
and the beauty it imparts to verse, most of our English 
poets accept its aid in the expression of thought. Rhyme 
in its simpliest form is called alliteration, which has three 
forms. 

I. — That of the old Saxon, or the correspondence of 
sound between two initial consonants; as, 

"I love the /yric of the soaring /ark." 
II. — That of the Ers or Irish, the correspondence of 
sound between two initial vowels; as, 
"Charm ache with air. " 



RHYME. 181 

III. — Where the correspondence includes both a con- 
sonant and a vowel; as, 

' i Ridi n g, r/iym i n g ; fishxw g, yfofcl ling. 
£/>zwept, ^honored, and z/;/sung. " 

The perfection of rhyme calls for similarity in sounds, 
not identity; as, 'flows,' 'rose;' 'eyes,' 'skies.' 

Rhyme is divided into perfect and imperfect. To secure 
the former the following conditions must be fulfilled : 

I. — Similarity in the vowel sounds of accented 
syllables. 
II. — Similarity in the consonant sounds that follow 

the vowel. 
III. — Diversity in the consonant sounds that precede 
the vowel : a consonant must precede one of the 
vowels; e. g. , 

Beaux, rose, flows, sews, stows, blows, etc. 
Imperfect rhymes result from slight resemblance in 
sound ; they rise: 

I. — When vowel sounds are alike, but are not in an 
accented syllable. 
II. — When the vowel sounds are dissimilar; as, ears, 

bears. 
III. — When vowels are followed by dissimilar conso- 
nant sounds. 
IV. — When the vowel is immediately preceeded by the 
same consonant sound; as, procession, succession; 
perverse, for verse. 
The best authors occasionally use imperfect rhymes. 
Some words in English have two pronunciations, one for 
prose and another for poetry; wind, bound, wound, and 
a few others. 

To be pleasing, rhyme must fall on accented syllables; 



ELOCUTION AS AN ART. 



If the verse be iambic, or anapestic acatalectic, it closes with 
a long syllable accented ; if it be trochaic, the rhyme falls 
on the syllable preceding the last; if dactylic, it falls on 
the third from the close of the verse or line. 

Rhyme is single when it takes one syllable the last; 



as, glow, below, sniile, while, beguile, etc. 

Double when it takes two syllables, trochaic acatalectic, 

as, fairy, airy, merry, cherry, etc. 

Triple when it extends to three, the accented syllable 
similar in sound, the unaccented identical ; as, scorn- 
fully, mournfully; scrutiny, mutiny. 

A stanza is made up of several verses. The term comes 
from stare, to stop, as the sense stops or closes with the 
group of lines that gives it form. The following stanza 
contains the simple, double and triple rhymes: 

Perishing gloomily 
Spurred by contumely 

Cold inhumanity. 

Burning insanity 
Into her rest. 
Cross her hands /nimbly 

As if praying dumbly 

Over her breast. — Hood. 

The above lines may recur both in the middle and at 
the close of a verse, e. g. : 

"I sift the snow on the mountain below," etc. 

If two successive lines end in like sounds, they form a 
couplet. 

If three rhyme together, a triplet. 

If four, a quatrain. 

Alternate rhymes are most common: /. e. the first 
rhymes with the third; the second, with the fourth, or 



RHYME. 183 

only the second with the fourth. We have also the first 
with the fourth ; the second with the third, and so on at 
the taste and fancy of the author. 



CHAPTER XX. 



General Rhyming Systems in Use. — Their Structure. 



These are: first, the short, the long and the common 
metres; second, the triplet stanza, the rhythm royal, the ot- 
tava rima, and terza rima; third, the Spenserian stanza and 
the sonnet, and fourth, the ode. 

Short metre has four iambic verses, rhyming alternately, 
three feet in the first, second and fourth; four feet in the 
third. 

Common metre has the same number, kind and arrange- 
ment of verse, with this difference: four feet for the first 
and third measures; three for the second and fourth; it 
is called ballad measure, as ballads were formerly written 
in this measure. 

In Long metre every verse is an iambic of four feet. 
The Triple Stanza may be of any kind and number of 
feet, but the three lines must have the same rhyme, 

The Elegiac Stanza is formed of four iambic pentameters, 
usuplly rhyming alternately. 

The Rhythm Royal, or seven-line stanza, invented by 
Chaucer, is an iambic of five feet; e. g. : 

"So on the tip of his subduing tongue, 

All kind of arguments and question deep, 
All replication prompt, and reason strong. 
For his advantage still did wake and sleep: 
To make the weeper laugh, — the laugher weep. 



i3 4 ELOCUTION AS AN ART. 

He had the dialect and different skill, 
Catching all passions in its craft of will." 

— Shakspere. 
Here the first verse rhymes with the third ; the second, 
with the fourth and fifth, the closing two form a 
couplet. 

Ottova Riiiia. — The Otiova Rima contains eight heroics; 
e. g : "Richard II." morn ing before his murder. 

"O happy man! says he. lo ! I see 

Grazing his cattle in those pleasant fields, 

If he but knew his good. How blessed he 

That feels not what affliction greatness yields! 

Other than what he is he would not be; 

Nor change his state with him that sceptre wields. 

Thine, thine is that true life: that is to live, 

To rest secure and not rise up to grieve." 

In this stanza, the first rhymes with the third and fifth ; 
the second, with the fourth and sixth; the seventh and 
eigth form a couplet. 

The Tcrza Rima, or triple rhyme, is, as the Sonnet, 
taken from the Italians. It was the strain of the trou- 
badours who flourished in the south of France and north 
of Italy during the Xlth, Xllth and XHIth centuries. It 
is not divided into stanzas, but prolonged at the will of 
the writer. The first verse rhymes with the third; after 
that the even lines rhyme three by three; the piece closing 
with a couplet. The Divina Com media of Dante is in 
this metre. Among our English poets, see Byron's 
"Ode to Italy." 

Spenserian Stanza. — This stanza, named from its in- 
ventor, Edmund Spenser, is formed of eight heroics 



RHYME. 185 

and one Alexandrian, or eight verses of five feet and one 
of six. The following example is from the "Faerie 
Queene:" 

"A gentle Knight was pricking on the plain 
Ycladd in mightie armes and silver shielde 
Wherein old dints of deepe woundes did remaine, 
The cruel markes of many a bloody fielde; 
Yet armes tell that time did he never wielde: 
His angry steede did chide his foaming bitt, 
As much disdayning to the curbe to yielde: 
Full jolly Knight he seemed, and faire did sitt, 
As one for Knightly giusts and fierce encounters fit-t. " 
On studying the above, we see first, the stanza con- 
tains two ordinary quatrains with lines rhyming alter- 
nately ; second, that these are tied by the last line of the 
first, rhyming with the first line of the second. When 
quatrains are completed, a ninth verse is added, which 
gives to the whole a peculiar and happy effect. See 
Spenser's "Fairie Queene," Byron's "Childe Harold*' 
aud Campbell's '"Gertrude of Wyoming." 

The Sonnet. — The Sonnetto, or little song, is a com- 
plete poem in itself, consisting of fourteen lines and 
taken from the Italian, we believe first Dy Sir Philip 
Sidney. . Its verses throughout contain five iambic feet. 
It is divided into distinct parts, called major and minor. 
The major divison consists of eight verses, Octave, and 
has but two rhymes; the- minor division contains six 
verses, sestette, and has, at option, three or two rhymes. 
The octave is composed of two quatrains; in each qua- 
train, the first and fourth verses rhyme, the second and 
third; also, the rhyme of the first and fourth of one 
quatrain is the same as the rhyme of the first and fourth 
of the other quatrain. Thus the whole is knit together, 
while each part has its own organization. 



tS6 ELOCUTION AS AN ART. 

The sestette is not so rigid in its construction. It has 
three rhymes; the first verse rhymes to the fourth; the 
second, to the fifth; the third, to the sixth. Or the first 
may rhyme to the third; the second, to the fourth; the 
fifth and sixth form a couplet. 

To prevent the parts from swaying asunder, or to 
preserve the unity of the whole, care is usually taken to 
avoid a grammatical break in passing from one to the 
other; however, our best Sonnet writers of the present 
day violate this rule. They bring the figure to a close 
in the octave and introduce the object in the sestette, thus 
making a complete break in the parts. It is said that 
Maurice F. Egan, Notre Dame, Ind., and John Reade, 
of Montreal, are the best sonnet writers in America. 

The Ode. — Tne Ode is the most irregular poem in our 
language. It recognizes no fixed length nor system of 
construction; its only determined point is, it is gener- 
ally formed of iambics. See Collins' ''Ode to the 
Passions," and Dryden's to "St. Cecilia " 

Heroic Verse. — This verse is of two kinds, rhyme or 
metre and blank verse. In the former, the lines are con- 
nected couplets by similarity of sound in the last sylla- 
ble; in the latter, similarity of sound is avoided, conse- 
quently its stanzas are optional in number of verses or 
lines. 

In heroic metre, every line consists of ten syllables, 
five short and five long. Two exceptions; first, where 
each line of a couplet contains eleven syllables; as, 
"The price, you think is incorrect? Take it ; 
I'm all submission; what you'd have it, make it." 

Second, where the second line of a couplet is stretched 
out to an Alexandrian of twelve syllables: 

"A needless Alexandrian ends the song, 



RHYME. 187 

That like a wounded snake, drags its slow length 
along." 
This form may be employed to close a period with 
pomp and solemnity, where the subject allows. With 
regard to quantity, it is unnecessary to mention a second 
time that quantities in verse are two: one double that 
of the other, and that every syllable is reducible to one 
or the other. 

Every language has syllables that may be pronounced 
long or short, at pleasure; but the English, above others, 
abounds in syllables of this kind. In words of three or 
more syllables, the quantity, for the most part, is inva- 
riable: the exceptions are more frequent in dissyllables; 
but monosyllables are, as a rule, at the will of the writer. 
This shows that the melody of our English verse must 
depend less upon quantity than other circumstances, in 
this it differs from the Latin, in which every syllable 
having but one sound strikes the ear uniformly. 

English Heroic verse is commonly iambic. To this we 
have two exceptions: the first foot may be either a 
trochee or a spondee; but the beginning with either foot 
affects not the order of the other feet in the line. 

English verse excludes many polysyllables, which are the 
most high sounding words in our language: very few of 
them have the alternate short and long syllables requir- 
ed by the metre. Accents have double effect: they 
contribute to melody, by giving it air and spirit; to 
sense, by distinguishing important words or syllables 
from ^//important. These effects cannot be separated 
without impairing the concord that subsists between 
thought and its expression. Particles and low words 
seldom call for accent, and then only for sake of con- 
trast. 



1 88 ELOCUTION AS AN ART. 

Confining accents to long syllables renders English 
Heroic verse extremely simple, and admits five in each 
verse. But supposing every syllable in an Heroic verse 
to be accented, there is one accent that makes a greater 
figure than the rest, being that which precedes the cap- 
ital pause. It is of two kinds, one immediately before 
the pause, and one that is divided from the pause by a 
short syllable. 

First Kind. — 

"Smooth flow the waves || the zephyrs play, 
Belinda smiled || and all the world was gay. " 

Second Kind. — 

"Our humble province || is to tend the fair, 
Not a less pleasing || though less glorious care." 

It is a capital defect to put a word incapable of an 
accent in the place where the capital accent should fall. 

Blank Verse. —Verse without rhyme is termed Blank 
Verse. It is appropriate to grave, solemn, lofty and 
sublime subjects. It requires more depth of feeling, 
greater beauty of thought, a grander and more delicate 
finish of language, and finer touches of imagination 
than rhyme. It is written in stately metre, generally 
iambic pentameter, though it may appear in other measures. 
But this being the measure of Heroic Verse it affords it 
a more appropriate garb and imparts to it a more stately 
tread. 



POETIC PAUSES. 189 

CHAPTER XXI. 



Poetic Pauses. 



The great variety of melody conspicuous in English 
verse arises chiefly from pauses and accents. In every 
line of poetry, we have one capital pause, which may 
fall after the fourth, fifth, sixth or seventh syllable. The 
place of the capital pause divides the English Heroic 
verse into four kinds, or orders, each with a melody pe- 
culiar to itself, and distinguishable by a delicate ear. 

This pause cannot be made indifferently after any of 
the syllables mentioned ; the sense regulates its position, 
consequently the sense determines the order of a line. 
We can have but one capital melodic pause in a line and 
this pause, when possible, should coincide with the sen- 
tential pause. Illustrations: 

First Order. — Pause after the 4th syllable: 

"Back through the paths || of pleasing sense I ran." 

Second Order. — Pause after the 5th syllable: 
"So when an angel || by divine command." 

Here the melodic pause falls on the first syllable of the 
word angel, we cannot split the word, and the pause is 
carried to its close. 

Third Order. — After 6th syllable: 

"Speed the soft intercourse || from soul to soul." 

Here we cannot separate an adjective from its noun, 
nor split a word, hence the pause falls after the trissyl- 
lable intercourse. 

Again after 6th syllable: 

"Then from his closing eyes || thy form shall part." 

We cannot separate a preposition from its object, nor 
an adjective from its noun, hence the pause falls after 
eyes. 



ioo ELOCUTION AS AN ART. 

Fourth Order — After the 7th syllable: 

"And taught the doubtful battle || where to rage." 
Battle is object of taug lit and coming immediately after 
its action, cannot be separated. 

Besides, the capital or melodic pause, called also the 
Coesural (from ccedere, to divide), we have inferior pauses, 
commonly two in each line; one, before the melodic and 
one after. The first comes ///variably after the ji^st long 
syllable, whether the line begins with a long syllable or 
a short one. 

The other imitates the capital pause: sometimes it 
falls after the 5th, 6th, 7th or 8th syllable. 
After the first and eighth : 

"Will I once more lift us up || in spite | of fate." 
First and seventh : 

" Thrones I and imperial powers || offspring | of 
Heaven." 
Second and eighth: 

"From storms I a shelter ] and from heat | a shade." 
Second and sixth : 

"Was known | in Heaven || for what] can 'scape 
God's eye." 
Second and fifth: 

"This place I our dungeon || not| our safe retreat." 
Second and seventh: 

"Above I all pain || all passion and pride." 
These examples show that the semi-pause, like the 
capital is directed by the sense. Its proper place with 
regard to melody, is after the 8th syllable, so as to finish 
the line with an iambus, distinctly pronounced, but some- 
times it follows the 6th and 7th, in order to avoid split- 
ting words or separating particles. In these cases melody 
is sacrificed to sense. 

These orders are not mere matters of fancy; each suits 



RHYME. 191 

a certain mode of arrangement. The first is proper for 
sentiment that is bold, lively or impetuous; the second, 
for what is tender, delicate or melancholy, and in gen- 
eral for all the sympathetic emotions; the third, for 
subjects grave, solemn or lofty; the fourth, for sympath- 
etic and tender subjects, when tempered by the solemn 
and sublime. We do not pretend that any one order is 
confined to such subjects, we merely mention their sug- 
gestiveness. 

In verse it is laid down as a rule that: A full or cap- 
ital pause ought never divide a word. 

The semi pause, because of its shortness, may divide 
a word. e. g. : 

"Relent I less walls || whose darksome round contains." 

In these I deep solitudes || and awful cells." 

This division, though allowed, weakens melody. 

The capital or melodic pause is so essential to melody 
one cannot be too nice in the choice of its place. It is well 
to have it agree with the sentential pause. If a sentence 
require a comma after the fourth, fifth, sixth or seventh 
syllable, it suffices for the melodic pause. To make such 
pause essential would be to cramp versification, so we 
may introduce melodic pauses where sententials are not. 
We have shown in Part I. of this work where melodic 
and sentential pauses may be properly introduced. 

With distinction the rule that guides pauses for the 
division of a line, holds for those that close a line. 

In the first verse of a couplet the final pause resembles 
the capital pause in the line, and for that reason comes 
under the same rules. The final pause of the second 
verse of the couplet resembles that of the heroic verse, 
and generally closes the sense, hence both pauses increase 
beauty and grace, when they correspond to the senten- 
tial. This rule is seldom transgressed: e. g. ; 



i 9 2 ELOCUTION AS AN ART. 

" The spirits seemed exceeding tame, 
Call whom you fancied, and he came. || ' 
"Many a stipulating wight || 
Came || by express trains | day and night." 
An intellectual or sentential pause is required after an 
inverted member of a verse: e. g. 

"As with cold lips || I kissed the sacred veil." 
The same pause is made when a separation occurs at 
the close of the first line of a couplet, e. g. 

"For spirits, freed from mortal laws, with ease, 
Assume what sexes and what forms they please.'' 
Variety in pauses gives English verse its superiority 
over French. 



CHAPTER XXII. 



General Observations. 



We have said that English Heroic verse admits no 
more than four Capital pauses; that the Capital or 
melodic pause of every verse is determined by the sense 
to follow the 4th, 5th, 6th or 7th syllable. This holds 
good for melody, but it has exceptions that strengthen 
and enliven expression. Milton has fine verses, wherein 
the melodic pause falls after the 1st, 2nd, or 3rd syllable. 
Pope, in his translation of Homer, describes a rock 
broken off from a mountain and hurled down to the 
plain : 

"From steep to steep the rolling ruin bounds. 
At every shock the crackling wood resounds, 
Still gathering force it smokes; and urged amain. 
While leaps and thunders down impetuous to the 
plain 



GENERAL OBSERVATIONS. 193 

There stops || so Hector. Their whole force he 

proved 
Resistless when he raged; and when he stopped, un- 
moved." 
In the penult verse, the proper place for the melodic 
pause is after the 5th syllable; but it enlivens expression 
to have it accord with sense. The stopping short of 
the melody strengthens the impression of the stopping 
short of the stone, and what may be lost in melody i 
restored in expression. 

Milton employs this license with happy effect, e. g. 
'** * * Thus with the year 
Season returns, but not to me returns 
Day || or the sweet approach of even or morn." 
Again : 

•'Celestial voices to the midnight air 
Sole J or responsive to each other's note." 
Again : 

"From his slack hand the garland wreathed for Eve, 
Down dropp'd || and all the faded roses shed." 

If we consider the above passages with regard to mel- 
ody alone, the melodic pauses are out of place, but 
united to the intellectual or sentential, they enhance ex- 
pression ; for, as we have already observed, beauty of 
expression is communicable to sound, which by a natural 
deception,- renders even melody more agreeable than it 
would be when subject to rule. 

Blank verse has the same pauses with rhyme and a 
pause at the close of every line, like that which concludes 
the first line of a couplet. The rules for melody in blank 
verse are the same as those for the couplet, but it is free 
from rhyme, we can sometimes run one line into another; 
however, we should be careful to use the melodic pause 
at. the close of each line. This pause should be so slight 



i 9 4 ELOCUTION AS AN ART. 

as not to interfere with the sense so the sense, may be 
carried on until a period of the utmost extent be com- 
pleted. The intellectual pause at the end of blank lines 
is necessary in order to preserve harmony between sense 
and sound. 

The lustre of inversion depends on pauses and accents. 
Rhyme confines inversion, Blank Verse gives it scope, 
hence the elevation, grandeur and sublimity of the latter. 
The loftiness of Milton's epic depends as much upon its 
blank verse metre and inversion as upon its sublimity of 
thought. Shakspere's blank verse is a sort of measured 
prose, admirably adapted to the stage, where labored 
inversion is improper, because in dialogue it is- unna- 
tural. 

The melody of blank verse is superior to that of 
rhyme; it is not confined by couplet?, but enjoys a com- 
pass great as that possessed by music proper. The in- 
terval between its cadences may be long or short, at 
pleasure; yet its melody, both in richness and in variety, 
equal, if not surpass, those of Greek and Latin Hexa- 
meter. Those who study Milton's "Paradise Lost" with 
intelligence, shall find our statement verified. True, 
Latin Hexameter verse has advantages over English 
Heroic: ist — In the latitude of its syllables; 2nd — In the 
majestic length of its line; 3rd — The high-sounding 
words it admits. To compensate these advantages, 
English Heroic verse possesses a greater number and 
greater variety of pauses and accents. 

These two sorts of verse stand pretty much in opposi- 
tion ; in Hexameter, great variety in arrangement, none 
in pauses and accents; English Heroic rhyme, great va- 
riety in pauses and accents, very little in arrangement. 
In Blank Verse are united the best qualities of both, 
with many melodic properties peculiar to itself. 



INFLECTIONS. 195 

First. — It is not confined, like Hexameter, to a full 
close at the end of everv line; nor like English Heroic, 
at the end of a couplet. 

Second. — It sometimes runs one line into another, thus 
giving greater majesty of length than that enjoyed by 
the Hexameter. 

Third. — It admits inversions not permitted by Latin 
and Greek Hexameters. 

Fourth. — Its melody is more illustrious; that of 
Hexameter is circumscribed to a line; English rhyme, 
toacouplet; the melody of Blank Verse is unlimited! 
In a word. Blank Verse is superior to Hexameter in many 
points; equal to it in all, except in variety of arrange- 
ment and in the use of long words. Blank Verse is, 
therefore, the most appropriate dress for grand and 
lofty subjects. 



CHAPTER XXIII. 



Inflections. 



Antithetical Matter. — Antithetical terms are gov- 
erned by the rule of positive and negative matter — all 
positive theses or antitheses receiving the falling inflec- 
tion ; all negative, the rising inflection; e. g. ; 

"The baptism of John was it from Heaven or of 

earth? " 

In this sentence the "baptism of John" receives the 

rising inflection, because of the suspended sense; Heaven, 

the falling, because superior; earth, the rising, because 

inferior. 

"All that tread the globe are 



196 ELOCUTION AS AN ART. 

But a handful to the tribes 
That slumber in its bosom." 
The sentence "All that tread the globe are but a hand- 
ful," is antithetical to the rest of the passage, and on 
account of the negative and positive forms of thought 
receives the rising inflection. 

"As by man came death, so by Man 

Came the resurrection and the life." 

In this we see at once the inferiority and superiority 
and mark it accordingly. Man, meaning Adam, negat- 
ive or inferior; Alan, Jesus Christ, positive, superior. 

Again : 

"lam in the old way, you're in the new. 
This is the false — that is the true." 

**:?;****** 

"You are in the old way and I am in the new. 

That is the false — this is the true." 

Interrogative Matter. — Interrogative sentences 
may be of many varieties, all of which can be reduced 
to three classes. 

First. — The unemotional. 

Second. — The emotional. 

Third. — The strong emotional. 

The first employs tones from the first to the third of 
the gamut; the second extends to the fifth; while the 
third sweeps from the first to the eighth. 

Unemotional. — Who did this? 

Emotional. — Name not the god, thou boy of tears! 



INFLECTIONS, 197 

Strong Emotional. — Measureless liar! thou hast made 
my heart too great for what contains it. 

In those examples the character ot thought is denoted 
by the tones employed in its executive expression. 
Some readers give the rising inflection only to the last 
word of an entire interrogative passage, thus destroy- 
ing its beauty and conveying the impression that only the 
word immediately preceeding the mark is interrogative. 

Frequently the question is put long before the close of 
the sentence or introduction of the interrogation point; 
take the following, from "Julius Caesar," act I, sc. II. 

"In the name of all the gods at once 
Upon what meat does this, our Caesar feed, 

That he has grown so great?" 

The interrogation point appears at the end of the third 
line, still it is obvious the question was put before this, 
and properly its place falls after feed, as this line con- 
tains the substance of the inquiry, the remaining sentence 
is added to set off the tought, not to question. 

Horatio addresses the ghost in "Hamlet," the inter- 
rogation mark is placed at the close of the first line, yet 
the only inquiry in the whole is: What a?-e thou ? 

In regard to the interrogation mark, the Spaniards 
have a method which we might adopt with profit. They 
place the mark before the question, to prepare the 
reader. 



i 9 8 ELOCUTION AS AN ART. 

CHAPTER XXIV. 



Emphasis 



The whole philosophy of emphasis is contained in this 
simple rule: 

In the utterance of the same thought, we must not 
twice emphasize the same word or its equivalent. 

All essential facts when first presented are to be regarded 

as EMPHATIC. 

All facts drawn from facts already stated; all facts 
which are only repetition; all facts that are gathered by 
fore knowledge, and all subordinate facts are to be re- 
garded as ////emphatic. 

Shakespere's Merchant of Venice, act iv, sc. i, furnishes 
an example in the case of the bond. The Duke has 
finished reading the letter and speaks to the court. 
Portia enters, dressed as a doctor of laws. Having put 
some questions, she asks Shylock, "Do you, confess the 
bond?" This is the first time the bond has been men- 
tioned in her presence — it is new matter — therefore her 
question becomes emphatic. But though the term occurs 
frequently throughout the tcene, it is no more empha- 
sized. 

In reading the speech on Mercy, we emphasize him 
twice in the same line, also the word mightiest — but in 
each case the reference is different. 

''It blesseth ///'/// that gives and ///'/// that takes; 
'Tis mightiest in the mightiest.'" 

By transferring emphasis we avoid repetition and give 
additional significance to the word, phrase or sentence. 

Terms in these cases are logically different and are the 
product of a new creative act of the mind: e. g. 



EMPHASIS. 199 

"From Camp to camp; steel clashes to steel; 
Bowl rang to bowl, " etc. 
Emphasis has six executive forms: 

First. — Emphasis by Pause, which is the simpliest and 
may be employed with any of the others: the length of 
the pause depends on the sense of the matter, whether 
gay, grave, solemn or important, etc. Hamlet, act — , 
scene, 1 : 

Queen. — Hamlet, ihou hast thy father much offended. 
Ham. — Mother — you — have my father much offended. 
Second. — Emphasis by Transfer. This prevents em- 
phasis from falling on repeated words used in the same 
sense. Merchant of Venice .-' 

Portia. — A quarrel, ho, already! What's the matter? 
Gratiano. — About a hoop of gold, a paltry ring. 
The first mention of the ring; afterwards Portia trans- 
fers emphasis: — 

Portia — If you had known the virtue of the ring, 
Or half her worthiness X.\\2X gave the ring, 
Or your own honor to contain the ring, 
You would not then have parted with the ring. 
Again Julius Caesar, act iii, sc. ii: 

Brutus. — Who is here so base that would.be a bond- 
man? If any, speak; for him I have offended. Who 
is here so rude that would not be a Roman? If any 
speak; for him I have offended. Who is here so 
vile that will not love his country? If any, speak; 
for him have I offended. I pause for a reply. 
Third. — Emphasis by Time. This is nearly allied to 
pause, but falls on the emphatic word or words by pro- 
longed quantity. Virginius, act iii, sc. v: 

Vir. — What then? What then? Tell me the matter. 



2oo ELOCUTION AS AN ART. 

Lucius. 
Luc. — I have said — it shall be told you. 
Vir. — Shall! I stay not for that shall — 
•Fourth. — Emphasis by Massing. This consists in 
grouping a succession of words or phrases which, em- 
ployed to express one thought, must be read as a mental 
unit. 

"The Omnipotence of God." The grand army of the 
Republic. " 

Mirth 

"There was a sound of revelry by night. 



Brussels 

And Belgium's Capital hath gathered, etc." 



Time 

Backward, turn backward, O tide of the vears 



Vestments 

The intertissued-robe of gold and pearl. 

Majesty 

The farced title running before the king, 



Under the form of massing we include all adjectives 
and substantives immediately connected; the former 
colors thought, the latter gives it strength and substance 
We do not emphasize adjectives unless we have a spe- 
cific purpose, or repeat the subject, in which case the 
adjective is employed to develop a new idea, or when 
it stands in direct antithesis to some other either expres- 
sed or insinuated. Thus Norfolk sneeringly concludes 
his message to Wolsey: 

Norfolk. — The king shall know it, and, no doubt, shall 
thank you, 

So fare you well my little good Lord Cardinal. 



EMPHASIS. 20 1 

Here the emphasized adjectives are ironical and by 
their inflection denote the weakest portion of the thought. 
The same remark applies to the adverb and its verb. 

Fifth. — Emphasis by Distribution. — This gives to words 
a distinct significance, so as to distinguish and separate 
the power and purpose of each. 

Henry V, act iv, sc. i. (Soliloquy.) 

" 'Tis not the balm, the sceptre and the ball, 
The sword, the mace, the crown imperial,'"' etc. 

Sixth. — Emphasis by Emotion. — This imparts force, 
strength and increased significance. It is the direct 
pulsation of the soul roused to sudden passion by suffer- 
ing, real or assumed. Merchant of Venice, act iv, sc. i. 

Por. — Then must the Jew be merciful. 

Shy. — On what compulsion — must — I? Tell me that. " 

Remark Ponia does not emphasize 'must' but 'merci- 
ful'; yet, therein ShylocKsees the danger and while duly 
emphasizing 'merciful', his emotion grapples with 'must' 
and the power of his opposing thought, is exerted. 

Of the closing selections now added for practice it 
may be said that some are old. So is all our best poetry. 
But they will be found quite new when properly read, 



DICKENS IN CAMP. 



Above the pines the moon was slowly drifting, 

The river sang below; 
The dim Sierras, far beyond, uplifting 

Their minarets of snow. 

The roaring camp fire with rude humor, pain-ted 
The ruddy tints of health 



202 ELOCUTION AS AN ART. 

On haggard face and form, that drooped and fainted 
In the fierce race for wealth; 

Till one arose, and from his pack's scant treasure, 

A hoarded volume drew, 
And cards were dropped from hands of listless leisure, 

To hear the tale anew; 

And then, while round them shadows gathered faster. 

And as the firelight fell, 
He read aloud the book wherein the Master 

Had writ of 'little Nell.' 

Perhaps 'twas boyish fancy, — for the reader 

Was youngest of them all, — 
But, as he read, from clustering pine and cedar 

A silence seemed to fall; 

The fir trees, gathering closer in the shadows, 

Listened in every spray, 
While the whole camp with 'Nell', on English meadows 

Wandered and lost their way. 

And so, in mountain solitudes — o'ertaken 

As by some spell divine — 
Their cares dropped from them, like the needles shaken 

From out the gusty pine. 

Lost is that camp, and wasted all its fire; 

And he who wrought that spell, — 
Ah, towering pine and stately Kentish spire, 

Ye have one tale to tell ! 

Lost is that camp! but, let its fragrant story 
Blend with the breath that thrills 



SELECTIONS. 203 

With hop-vines' incense all the pensive glory 
That fills the Kentish hills. 

And on that grave where, English oak and holly 

And laurel wreaths intwine, 
Deem it not at all a too presumptuous folly, 

This spray of Western pine. 

— Bret Harte. 



LADY CLARA VERE DE VERE. 

Lady Clara Vere de Vere, 

Of me you shall not win renown; 
You thought to break a country heart 

For pastime, ere you went to town. 
At me you smiled, but unbeguiled 

I saw the snare, and I retired : 
The daughter of a hundred Earls, 

You are not one to be desired. 

Lady Clara Vere de Vere, 

I know you proud to bear your name, 
Yourpride is yet not mate for mine, 

Too proud to care from whence I came. 
Nor would I break for your sweet sake 

A heart that doats on truer charms. 
A simple maiden in her flower 

Is worth a hundred coat-of-arms. 

Lady Clara Vere de Vere, 

Some meeker pupil you mwst find, 

For, were you queen of all that is, 
I could not stoop to such a mind. 

You sought to prove how I could love, 
And my disdain is my reply. 



2o 4 ELOCUTION AS AN ART. 

The lion on your old stone gates 
Is not more cold to you than /. 

Lady Clara Vtre de Vere, 

You put strange memories in my head. 
Not thrice your branching limes have blown 

Since I beheld young Laurence dead. 
Oh, your sweet eyes! your low replies? 

A great enchantress you may be; 
But, there was that across his throat 

Which you had hardly cared to see. 

Lady Clara Vere de Vere, 

When thus he met his mother's view, 
She had the passions of her kind. 

She spake some certain truths of you. 
Indeed \ heard owe. bitter word 

That scarce is fit lor you to hear; 
Her manners had not that repose 

Which stamps the caste of Vere de Vere. 

Lady Clara Vere de Vere, 

There stands a spectre in your hall: 
The guilt of blood is at your door: 

You changed a wholesome heart to gall. 
You held your course without remorse, 

To make him trust his modest worth, 
And, last, you fix'd a vacant stare. 

And slew him with your noble birth. 

Trust me, Clara Vere de Vere, 

From yon blue heavens above us bent 

The grand old ga ? dener and his wife 
Smile at the claims of long descent. 

Howe'er it be, it seems to me, 



SELECTIONS. 205 

'Tis only noble to be good. 
Kind hearts are more than coronets, 
And simple faith than Norman blood. 

I know you Clara Vere de Vere : 

You pine among your halls and towers: 

The languid light of your proud eyes 

Is wearied of the rolling hours. 

In glowimg health, with boundless wealth, 
But, sickening of a vague disease, 

You know so ill to deal with time, 

You needs must play such pranks as these. 

Clara, Clara Vere de Vere, 

If Time be heavy on your hands, 
Are there no beggars at your gate, 

Nor any poor about your lands? 
Oh! teach the orphan-boy to read, 

Or teach the orphan-^/;-/ to sew, 
Pray Heaven for a human heart, 

And let the foolish yeoman go. 

:o: 

HALLOWED GROUND. 



I 
What's hallowed ground ! Has earth a clod 
Its Maker meant not should be trod 
By man, the image of his God 

Erect and free, 
Unscourged, by Superstition's rod, 

To bow the knee? 

II. 
That's hallowed ground — where, mourned and missed, 
The lips repose our love has kissed : — 



2o6 ELOCUTION AS AN ART 

But where's their memory's mansion] Is't 

Yon churchyard's bowers ? 
No .' in ourselves their souls exist, 

A part of ours. 

III. 
A &w can consecrate the ground, 
Where mated hearts are mutual bound: 
The spot where loves first links were wound, 

That ne'er are riven, 
Is hallowed, down to earth's profound, 

And, up to Heaven .' 

IV. 
For, time makes all but true love old; 
The burning thoughts that then were told 
Run molten still in memory's mould; 

And, will not cool, 
Until the heart itself be cold 

In Lethe's pool. 

V. 
What hallows ground where heroes sh\ 
'Tis not the sculptured piles you heap! 
In dews that heavens far distant weep 

Their turf may bloom ; 
Or, Genii twine beneath the deep 

Their coral tomb: 

VI. 

But, strew his ashes to the wind 
Whose sword or voice has served mankind — 
And is he dead, whose glorious mind 
Lifts thine on high? — 

To live in hearts we leave behind. 
Is not to die. 



SELECTIONS. 207 

VII. 

Is't death to fall for Freedom's right? 
Hes dead alone that lacks her light .' 
And murder sullies in Heaven's sight 

The sword he draws: — 
What can alone ennoble fight? 

A noble cause ! 

VIII. 

Give that I and welcome War to brace 
Her drums! and rend Heaven's space! 
The colors planted face to face, 

The charging cheer, — 
Though Death's pale horse lead on the chase, — 

Shall still be dear. 

IX. 

And place our trophies where men kneel 
To Heaven! — but, Heaven rebukes my zeal! 
The cause of Truth and human weal, 

O God above! 
Transfer it, from the sword's appeal 

To Peace and Love. 



Peace! Love! the cherubim, that join 
Their spread wings o'er Devotion's shrine! 
Prayers sound in vain, and temples shine, 

Where they are not — 
The heart alone can make divine 

Religion s spot. 

XI. 

Fair stars ! are not your beings pure ? 
Can sin, can death, your worlds obscure? 



208 ELOCUTION AS AN ART. 

Else, why so swell the thoughts, at your 

Aspect above? 
Ye must be Heavens that make us sure 

Of heavenly love I 

XII. 
And, in your harmony sublime, 
I read the doom of distant time: 
That man's regenerate soul from crime 

Shall yet be drawn, 
And reason on his mortal clime 

Immortal dawn. 

XIII. 
What's hallowed ground? — Tis what gives birth 
To sacred thoughts in souls of worth! 
Peace! Independence! Truth! go forth 

Earth's compass round; 
And your high priesthood shall make earth 

A ll hallowed ground. 



«^%«* 



SELECTIONS. 
ANNABEL LEE. 



It was many and many a year ago, 

In a kingdom by the sea, 
That a maiden there lived whom you may know 

Bv the name of Annabel Lee; 
And this maiden she lived with no other thought 

Than to love and be loved by me. 

I was a child and she was a child, 

In this kingdom by the sea: 
But — we /<?z^with a love which was more than love- 

I and my Annabel Lee; 
With a love that the winged seraphs of heaven 



Coveted her and me. 

And such was the reason that, long ago, 
In this kingdom by the sea, 

A wind blew, out of a cloud, chilling 

My beautiful Annabel Lee ; 
So that her highborn kinsman came, 

And bore her away from me, 
To shut her «/) in a sepulchre 

In this kingdom by the sea. 

The angels, not half so happy', in heaven, 

Went envying her and me — 
Yes! — that was the reason (as all men know. 

In this kingdom by the sea) 
That the wind came out of the cloud, by night, 

Chilling a.r\d.-killi?ig-my Annabel Lee. 



ELOCUTION AS AN ART. 



But, our love, it was stronger by far than the love 

Of those who were older" than we — 

Of many far wiser than we — 
And neither the angels in heaven above, 

Nor the demons down under the sea, 
Can ever dissever my soul' from the souV 

Of the beautiful Annabel Lee: 

For the moon never beams without bringing me drearm 

Of the beautiful Annabel Lee; 
And the stars never rise but I feel the bright eyes 

Of the beautiful Annabel Lee; 
And, so, all the night-tide, I lie down by the side 
Of my darling — my darling — my life and my bride, 

In the sepulcher there by the sea, 

In her tomb by the sounding sea. 



-:o:- 



"Hamlet," act v. scene ii. 

Fencing. — Hamlet Salute. 

Draw sword with hand moving in circle, using ordin- 
ary motion, till hands are extended over head, then 
describe a circle with sword to engagement of carte. 

Leader coupe for distance to seconde, then describe 
circle to right and left of body by motion of wrist and 
longe in carte proving distance. Draw up bringing right 
heel in rear of left, half way, knees braced, right arm 
and weapon extended in carte, on a line with should- 
ers and keeping point clear of opponent's body; recover 
aud salute in tierce to right; in carte to left of body. Then 
drop point into seconde, a circle and coming to guard in 
carte. 



SELECTIONS, 211 

Leader disengage and thrust tierce — showing the grace 
of tierce by the point playing inside of the body. Raise 
the wrist, seeing inside of the arm, body in full longe. 

Both. — Draw up in carte, counter parade of carte into 
seconde, retiring the length of guard. Describe a circle 
of body on tierce, coming on guard of carte and beating 
single and double appelle. Pass left heel to ball of right 
toe, raising the sword in carte, crossing opponent's 
weapon obliquely and both drop to the salute on carte; 
then describe a circle, passing the left foot to rear and 
come to the engage of carte. 

Enter King, Queen, Laertes, Lords, Osric, and Atten- 
dants, with foils, etc. 
- King. — Come, Hamlet, come and take this hand from 
me. 
[T/ie King puts the hand of Laertes into that of 

Hamlet.] 
Hani. — (To Laertes.) Give me your pardon, sir; I 
have done you wrong; 
But pardon't as you are a gentleman. 
This presence knows, and you must needs have heard 
How I am punish'd with a sore distraction. 
What I have done, 

That might your nature, honor, and exception, 
Roughly awake, I here proclaim was madness. 
Was't Hamlet wrong'd Laertes? Never Hamlet: 
If Hamlet from himself be ta'en away, 
And, when he is not himself, does wrong Laertes, 
Then Hamlet does it not, Hamlet denies it. 
Who does it then? His madness; if't be so 
Hamlet is of tne faction that is wrong'd ; 
His madness is poor Hamlet's enemy. 
Sir, in this audience, 



i2 ELOCUTION AS AN ART. 

Let my disclaiming from a purpos'd evil 

Free me so far in your most generous thoughts, 

That I have shot mine arrow o'er the house, 

And hurt my brother. 
Laer. — I am satisfied in nature, 

Whose motive, in this case, should stir me most 

To my revenge: but in my terms of, honor 

I stand aloof: and will no reconcilement, 

Till by some elder masters, of known honor, 

I have a voice and precedent of peace, 

To keep my name ungar'd. But till that time, 

I do receive your offer'd love like love, 

And will not wrong it. 
Ham. — I embrace it freely; 

And will this brother's wager frankly play. 

Give us the foils. Come on. 
Laer. — Come, one for me. 

Hani. I'll be your foil, Laertes; in mine ignorance 

Your skill shall, like a star i' the darkest night. 

Stick fiery off indeed. 
Laer. — You mock me, sir. 

Ham. — No, by this hand, 
King. — Give them the foils, young Osric. 

Cousin Hamlet, 

You know the wager? 
Ham. — Very well, my lord; 

Your grace hath laid the odds o' the weaker side. 
King. — I do not fear it: I have seen you both. 

But since he's better'd, we have therefore odds. 
Laer. — This is too heavy, let me see another. 
Ham. — This likes me well. These foils have all a length? 
Osr. — Ay, my good lord. 

[ They prepare to play. ] 
King. — Set me the stoups of wine upon that table: — 



SELECTIONS. 213 

If Hamlet give the first or second hit, 

Or quit in answer of the third exchange, 

Let all the battlements their ordnance fire; 

The king shall drink to Hamlet's better breadth; 

And in the cup an union shall he throw 

Richer than that which four successive kings 

In Denmark's crown have worn. Give me the cups; 

And let the kettle to the trumpet speak. 

The trumpet to the cannoneer without, 

The cannons to the heavens, the heavens to earth, 

Now the king drinks to Hamlet. — Come, begin ; — 

And you, the judges, bear a wary eye. 

Ham. — Come on, sir. 

Laer. — Come on, sir. [They play. ~\ 

Ham. — One. 

Laer. — No. 

Ham. — Judgment. 

Osr. ■ — A hit, a palpable hit. 

Laer.- — Well, — again. 

King. — Stay, give me drink: Hamlet, this pearl is thine; 
Here's to thy health. 
[Trumpets sound; and cannon shot off from 7C>ithin.] 
Give him the cup. 

Ham. — I'll play this bout first; set it by a while. 
Come. [They play. ~\ Another hit; what say you? 

Laer. — A touch, a touch, I do confess. 

King. — Our son shall win. 

Queen. — He's hot, and scant of breath. — 

Here, Hamlet, take my napkin, rub thy brows; 
The queen carouses to thy fortune, Hamlet, 

Ham. — Good madam! 

King. — Gertrude, do not drink. 

Queen. — I will, my lord; — I pray you, pardon me. 

King. — [aside.] It is the poison'd cup; it is too late. 



2i 4 ELOCUTION AS AN ART. 

Ham. — I dare not drink yet, madam; by-and-by. 
Queen. — Come, let me wipe thy face. 
Laer. — My lord, I'll hit him now. 
King. — I do not think it. 

Laer. — [aside.] And yet it is almost against my con- 
science. 
Ham. — Come, for the third, Laertes :you but dally; 

I pray you, pass with your best violence; 

I am afeared you make a wanton of me, 
Laer. — Say you so? come on. [They play. 

Osr. — Nothing, neither way, 
Laer. — Have at you now. 

[Laer W(/////^' Hamlet ; then in scuffling they change 
rapiers and Ham. wounds Laer.] 
King. — -Part them, they are incensed, 
Ham. — Nay, come again. [The Queen falls.] 

Osr. — Look to the queen there, ho! 
Hor. — They bleed on both sides! How is it, my lord? 
Osr. — How is't, Laertes? 

Laer. — Why, as a woodcock to mine own springe, 
Osric ; 

I am lustly killed with my own treachery. 
Ham. — How does the queen? 
King. — She swoons to see them bleed. 

Queen, ---No, no, the drir,k, the drink, — O my dear 
Hamlet!— 

The drink, the drink; — I am poison'd! [Dies. 

Ham. — O villany! — Ho! Let the door be lock"d : 

Treachery! seek it out. [Laertes falls. 

Laer. — It is here, Hamlet: Hamlet thou art slain; 

No medicine in the world can do thee good, 

In thee there is not half an hour of life; 

The treacherous instrument is in the hand, 

Unbated, and envenom'd: the foul practice 



SELECTIONS. 



2^5 



Hath turned itself on me; lo, here I lie. 

Never to rise again ! thy mother's poison'd ; 

I can no more; the king, the king's to blame. 
Ham. — The point — envenom'd too! — 

Then, venom, to thy work. [Stabs the King. 

Ors. and Lords. — Treason! Treason! 
King. — O, yet delend me, I am but hurt. 
Ham. — Here, thou incestuous, murderous, damned 
Dane, 

Drink of this potion: — is thy union here? 

Follow my mother. [king dies. 

Laer. — He is justly served. 

It is a poison temper'd by himself. — 

Exchange forgiveness with me, noble Hamlet, 

Mine and my father's death come not upon thee, 

Nor thine on me! 
Ham. — Heaven make thee free of it! I follow thee. 

I am dead, Horatio. — Wretched queen, adieu! 

You that look pale and tremble at this chance, 

That are but mutes or audience to this act. 

Had I but time, (as this fell sergeant, death, 

Is strict in his arrest,) O, I could tell you — 

But let it be: — Horatio, I am dead; 

Thou liv'st; report me and my cause aright 

To the unsatisfied. 
Hor. — Never believe it.' 

I am more an antique Roman than a Dane, 

Here's yet some liquor left. 
Ham. — As thou'rt a man, 

Give me the cup; let go; by heaven I'll have it. 

O good Horatio, what a wounded name, 

Things standing thus unknown, shall live behind me! 

If thou didst ever hold me in thine heart, 



2l6 



ELOCUTION AS AN ART. 



Absent thee from felicity awhile, 

And in this harsh world draw thy breath in pain, 

To tell my story. 




